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J. x Banca 1916 PF 


mie UHECE POTTERY COLLECTIONS 
FROM NAZCA 


BY 
A. H. GAYTON anp A. L. KROEBER 


UNIVERSITY OF CALIFORNIA BERT ts IN AaERICAN ARC! 
AND ETHNOLOGY 


Volume 24, No. 1, pp. 1-46, plates 1-21, 12 figures i in 
es Issued February 28, 1927 


UNIVERSITY OF CALIFORNIA PRESS 
Ws BERKELEY, CALIFORNIA 


+e CAMBRIDGE UNIVERSITY PRESS 
LonpDON, ENGLAND 


FROM NAZCA 


: BY 
A. H. GAYTON anp,.A. L. KROEBER 


CONTENTS 


; ntroduction vnc atg eat Se REA EE Os SS ROR em REE 5 ieee nee 2 
Sources of the collection............ re Se Ea MN SENT Ve al lee! 3 
oe So ESI OG ORR eS OME ore aA on en eee i 4 
Sry. Nazca style Sp 4 eS Sia aa ge eet aT a Mk I 6 
mek Differentiation of substyles rs Aa iso i oe Be) AEE TOT Bos (Shahar ee relay 2S eateR 6 

é 1 


Tires PLATES 

an ty. inde (Following page 46) 
Nazca style A. 

i Naeee style X. 


ae azea style Y, type 3. ; 
_ Ware from Nazea in style of Ica. 


2 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


FIGURES IN TEXT. 


PAGE 
1. Map of the region of Nazea..ic.dsic5.c4avs ne in ee 3 
2. Shapes of Nazca style wares ...-i.4cievaiovet-teo, amen meten eae ee ae 5 
3. Designs and motives of Nazca style ware.0%..,..900 0 oy Oe 
4, Stylistic changes in execution of trophy head design...........0.0.0.0..ccce 15 
5. Stylistic changes in execution of spicated ornamentation... 18 
6. Abbreviation of Cat-demon design to face and head parts.......0.000.0...ccee 20 
7. Stylistic changes in execution of Step-fret designs...........0:.cccccceceeeeee renee 21 
8. Stylistic changes in execution of Step-block designs... eee 23 
9. Stylistic degeneration of the Jagged-staff demon design.............. 000 24 
10. Stylistic relation of Jagged-staff demon and flower-like designs in Nazca 
SEV LO. Yo iscveacuceaeestabysteacuceyranestenestpers turardags Gunes che abtentsadeiss Geepesy sone ate nc 28 
11. Vessels in. Nazea styles A and Boo.o...ic. ccs cu cmcesede cde 31 
12. Vessels in Nazea styles A and’ Bo.......0 00040038 32 


INTRODUCTION 


The present paper is the seventh of a group of studies analyzing 
and interpreting the collections of pottery and artifacts from Peru 
belonging to the University of California. It follows the purpose 
indicated by the authors of the first number of the series.1 Under the 
patronage of Mrs. Phoebe Apperson Hearst the specimens of the col- 
lection under consideration were obtained in the region of Nazca, 
Peru, during the year 1905 by Dr. Max Uhle. | 

The relics from Nazea comprise 785 catalogue entries of which 
almost 660 form the ceramic collection, the subject of this study. The 
style of the ware is that variously referred to as Nazca, Proto-Nazea,?” 
Nasea and Pre-Nascea,* or ‘‘areaico del centro,’’* names derived from 
the focal point of its regional distribution.’ It is termed ‘‘Nazca’’ 
throughout this paper. The excellent technique and picturesque color- 
ing and design of Nazcan pottery have caused it to be frequently 
described and depicted in studies of South American antiquities,” § but 


1A. L. Kroeber and William Duncan Strong, The Uhle Collections from 
Chincha, this series, 21:3-6, 1924. 


2 Max Uhle, The Nazca ele of cet Peru, Davenport Academy of 
Sciences, Proceedings, 13:1-6, pls. 1-13, 1914. 


3 Julio C. Tello, Los Antanas Gementerios del Valle de Nasca, Proe. Second 
Pan-American Scientific Congress, Washington, pp. 283-291, LOU 


4 Tello, Wira-Kocha, Inca, 1:584, Lima, 1923. 


5 Max Uhle, the scientific discoverer of the ware in situ, in his earlier papers 
designates it as ‘‘old’’ or ‘‘earliest style of Ica,’’ it being at Ocucaje in Ica 
valley that he first encountered cemeteries of. it. 


6 KE. Seler, Die buntbemalten Gefasse von Nasca im siidlichen Peru dae die 
Hauptelemente ihrer Verzierung, Gesammelte Abhandlungen zur Amerikanischen 
Sprach und Alterthumskunde, 4:169-338, figs. 1-430, 1923. Walter Lehmann and 
Heinrich Doering, Kunstgeschiehte des Alten cae "Erlimtert durch ausgewahlte 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 3 


a comprehensive analysis of its style has seemingly never been made. 
It is attempted here as a step toward determining the place of Nazcan 
styles in Peruvian cultural chronology. 


SOURCES OF THE COLLECTION 


Unlike the material gathered by Dr. Uhle at Chincha, Ica, Chancay, 
Supe, and elsewhere, the Nazca collection is unaccompanied by any 
report or explanatory data other than a field catalogue of meager 
information. Therein are indicated the localities at which the speci- 


PAMPA 
DE ue Ba 
& Ae 
oy e 
HUAYURI © # 
$ i 


Ve Cimba og9> 
: a MOG ¢ 
(faturée “Mvayuri S 


Palpa A 
° Coven ad Juais : 
ue, Chongui/lo . 5 San Javier ue 

io 


“San Jose’ 


de 
Lagenio / 


old 


DE 


aha, 

CERRO TUNGA®\S No. 
C 

o 


Oc R. de Sacas 
Cahuachi ; } 
(o} 


tunca /4nga sake, 4, Seeonfaie 
c = Ae 
3 : agarave = 
area 
Poroma e Tarugasetug, / 
Be anshilta’ 


Copara ¢ 
e Cas ibe 


Las Trancas Ses 


Fig. 1. Map of the region of Nazea. 


mens were obtained and a rudimentary classification of portions of 
the collection. With the exception of thirteen pieces recorded from 
two graves, grave provenience is lacking. This absence of records 
leaves the precise source of the vessels—excavation or purchase— 


Werke aus Ton und Stein, Gewebe und Kleinode, 1924. Félix Outes, La Expresién 
Artistica en las mas Antiguas Culturas Preincéicas, Anales de la Sociedad Cientifica 
Argentina, 89:55-104, 1920. Philip Ainsworth Means, A Survey of Ancient 
Peruvian Art, Connecticut Academy of Arts and Sciences, Transactions, 21:315— 
442,1917. E. K. Putnam, The Davenport Collection of Nazca and other Peruvian 
Pottery, Davenport Academy of Sciences, Proceedings, 13:17-46, 1914. 
M. d’Harcourt, La Céramique Ancienne du Pérou, 1924. Putnam’s account is a 
descriptive analysis of certain design constituents. Seler interprets many designs 
and elements as to their meaning. Tello interprets especially the feline and 


associated constituents. 


R. and 


4 University of California Publications in Am. Arch. and Ethn. | 


entirely uncertain. Even the localities specified are of little signi 
cance since eight of the nineteen mentioned are so vague, as ‘‘ Distri 


be regarded as sites. From these come at least two-thirds of the 
pottery collection. The other third of the ware is distributed among 
the remaining localities in quantities too small to be of much statistical 
value. eS 
The following are the localities and the catalogue numbers | eh 
number of ceramic specimens from each; also the stylistic tendencies 
(expressed in per cent according to the styles dealt with below) of 
those lots definitely located and numerically important. er 
Tunga: 53 pieces: Nos. 8388-8439, 8442; style A 9%, X 34%, B 51%. 
Usaka: 10: 8444-8448, 8509, 8578-8581. 
Ravine of Nazea: 12: 8456-8467. 
Valley of Nazca: 22: 8468-8489. 
Cemeteries near the ancient ruins of Nazca [probably Paredones]: 14 
8490-8494 (eran 1), 8495-8502 (grave 2), 8536 ab; A 7%, X 14 
B 79%. ae 
District of Nazca: 370: 8503—08a, 8510-29, 8533, 8623-8781, 8847 
9095-9103, 9157-63. 
Inca cemetery near Poroma: 2: 8530-31 Bae ai: 
Nazca: 19: 8532, 9016-31la, 9155-56. 
Majoro Grande: 18: 8535, 8544-60; A 6%, X 11%, B su 
Cacatilla: 1: 8540. 
Cahuachi: 3: 8542-43, 9094. 
Near Nazea: 17: 8561-77. 
Cafias: 4: 8582-85. 
Panes 7: 8586-92. 


Tiaveebes of Aree 9: 8614-29. es 
Soisongo: 57: 8791-8846, 9015 a-g; A, 23%, X 24%, B ee Ys ete, 2 
Ocongalla: 32: 9062-93; A 81%, X 6%, B 13%. 


METHOD 


The lack of grave and definite local provenience leaves any 
tural or chronological interpretations of stylistic features unsupportec 
by extraneous proofs. Consequently the method followed in treating 
most of this collection is of a different order from that used | 
Kroeber and Strong in their treatment of other collections.’ 

In order to objectify as much as possible data which must 
necessity be subjectively derived, the analysis of style was prim 1h 
a quantitative one consisting of a numerical analysis of its she ape 
color, and design attributes. That part of the pottery collection - W. 
showed most fully the traits customarily recognized as charac Tr 


7 This series, 21. an 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 


or 


of the Nazca style was segregated into 26 shape classes; or, to be more 
exact, 25 shape classes (A to y) and a twenty-sixth ‘‘miscellaneous”’ 
group (Zz). These shape classes, whose aggregate constitutes the 
Nazca style, comprise 563 out of 657 vessels; or, with the omission of 


me TSO 


mov 


H } J 
K : M N O 


m 


‘ Q R S T 

U Vv 

Fig. 2. Shapes of Nazca style ware: A, round-bottom bowl; B, point-bottom 
‘bowl; c, conical bowl; D, shallow bowl; £, angular bowl; F, cup bowl; 4, straight 
bowl; H, flaring bowl; 1, angled goblet; 3, goblet; K, double-curve goblet; 
L, conical goblet; M, small vase; N, cylindrical vase; 0, bulbous I vase; P, 
bulbous II vase; Q, lipless jar; R, wide-mouth jar; Ss, narrow-mouth jar; 1, 
handled jar; u, double spout jar; v, head and spout jar; w, flaring rim vase; 


x, figure vase; y, head. Style A: A, E, F, H, U; Style X: B-D, G, P-T; Style B: 
1-0; V—Y. 


Ww 


examples in the miscellaneous group Z, 536; their individual museum 
numbers are given in a list below grouped according to the 25 shapes. 
On these 536 vessels were made frequency distributions of design and 
color traits. The results showed three substyles of the generic Nazca 
style. 


6 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


The remaining 94 vessels are either wholly un-Nazea in style (Ica, 
Inea, ete.), or are only partly Nazea-like and do not belong in their 
shapes to the 25 shape classes of the typical Nazca style ware. These 
94 vessels were consequently not included in the shape-design-color 
frequency analysis of the typical Nazca ware. They are discussed 
separately below. 

The legitimacy of assuming a stylistic relationship based on the 
correlation between shapes and designs or colors was tested by apply- 
ing the same method to another collection of Nazca ware from the 
region of Ica. The results confirmed the findings of the original 
analysis. : 


NAZCA STYLE WARE 
DIFFERENTIATION OF SUBSTYLES 


The style of Nazca pottery is characterized by uniformity in size, 
polychromatic color schemes, the outlining in black of every color 
area, naturalistic designs, and the paucity of decorative modeling. 
The differentiation into substyles is not dependent on a deviation from 
any of these features but has been made on the basis of the relation- 
ship existing between certain shapes and certain design and color 
preferences. 

Table 1 gives the numerical occurrences and relationships of shapes 
and designs. The 25 shape classes used in the table (after deduction 
of the 27 miscellaneous vessels constituting class z) are illustrated 
in figure 2, the dimensions of the extreme specimens in each class 
being added in a list at the end of the paper. The 40 designs used 
in the table, which include the principal whole motives and significant 
parts of more complex designs, are shown in figure 3. The names 
attached to the designs or their parts are merely descriptive phrases. 
No attempt was made to interpret the meaning of the motives, an 
undertaking already adequately accomplished by Seler and Tello.® 

Table 2 deals with traits of form and color. The range of colors 
used on Nazca ware is wide: nine (with additional shades) are 
definable, as well as black and white. These are: R, red, varying 
from a blood red to a purplish red; R?, red 2, shading from red-orange 
to a light yellow-orange; Y, yellow of light or medium intensity; Y?, 
yellow 2, a neutral pale yellow or cream, distinguishable from’ white 


8 Works cited, p. 2. 


eS CU oe Se eer ee 


TABLE 1 
SHAPE AND Dzsign FREQUENCIES 


27 


26 


25 


il 


10 


s[eq0.L, | 


T8101 


solies peoy IBNZUvIL], 


uOUep pus poy 9}810UETOq, 


(pusy Uf) 4mI7 

qOLIeT 

Burxog 

Spveq 9[go1d o810Ne70q, 
spBoy WIM souldg 
uomep 984s-pesser 
(euo[e) MOLIY 


TT 39019-de3g 


= 
solies peoy IeoUIAIMD 


pusy uedgO 
Bur9z1ENhH 
suosied eyed ul0g) 


sy peyxooysoyuy 


T?39O.L 


pednipeng 

Yooyo poyared 

801998T 

pveyq uoWep o}8190es0q, 
zeH904) 

Bez317 


«8999B,, POGObIOT 


S9LIO8 9087 

II 303j-do4g 

pveq Aqdos qynoul-o}Iq 
wourep-38) 

SOLIOS PUOUIBICT 

soul Surddv[10AQ 

speoy SulyeIpey 


x 


704 


225 


14 


11 


19 


163 


13 


AB: 


AX: 74 


12 


14 


12 


147 


XB 


XX: 83 


10 


ae 


10 


BX: 181 


BB 


338 


18101 


((emyeu) YsLT 
(euOTS) FMI17 
I 9933-4038 


putq epednuep 


series peay Aydor} qyNoul-zIGM 


roysu0ul epedIzue_) 
J 70019-dexg 

SpItq 10730 
paqsururoin 

Pat 1078 M 

guedi0s pepeoy-OM J, 


v 


:susiseqy 


gaouei1mo00 odsyg | 


ill 


15 


10 


76 


AA: 


XA: 28 


Design occurrences..............+ 


Forms: 


25 
30 
21 


37 
34 


147 


18 


E Angular bowl.................... 
Gant Bowl eee nschaccsittice reese 


A Round bottom bowl....... 


U_ Double spout jar.............. 


H Filaring bowl..............00. 


Total: 


P Bulbous IT vase................ 
T Handled jar........ 


R_ Wide-mouth jar.... 
D Shallow bowl. 


B_ Point bottom bowl.......... 
Q. Lipless Jarsae..-.... cscs eed 


G Straight bowl.................... 


23 


35 


159 


22 
13 
12 
10 
30 
24 
30 
28 
47 


230 


111 


536 


S Narrow-mouth jav........... 
C Conical bowl...............00: 


Total: 


O Bulbous I vase.................. 


I Angled goblet..........00000..... 
M Small vase.........cccccceccce 


J  Goblet.......... 


W Filaring-rim vase.............. 


K Double curve goble 


L_ Conical goblet.................... 


V Head and spout jar........ 
DRY BAG ure VAC... sese.ckse dieses 


*Y Peace 2088... Sh cssisonesbice 


N_ Cylindrical vase................ 


Total: 


Totals: 


Ree é ‘ ok a oi _ eae a . ee mcg a. 
weaGlondh BSS S-SR88R2 


ete 


ee 


Pe nc a ap rn nh pny em lan a Sn Ree teem ie an a a 


Fe ’ 4 iy 4 
A . . 3 ; 
; ; j 4 ; 
< + , H ' FY 
: rm *» 9 on : vey 3 y 
is 4 } ‘ si 
: Fi : i 
AY ¢ a i : | 
: 3 . 2 F 
‘tm — oat r 4 i ; 
: : ‘ cf B 
+ ; : ; , 3 i 
y 4 : 4 
iJ Py < ~ 4 Un” sag } pe ; % } E 
. | = 
: | : 
: 1 : 4 4 
= ee & wm i — ; of q ; 
| | OES <6 


“b 


3 ~ 


ieee 


SIR Pie oy ar 
eo 
dew 


¢ 
{ 
| 
cand aplice T dlagig-gare : 


ape ety Az 7 
‘ 

se 

ae 
i 


= isuass ebegitcs) + wp i Pe as . , ; 


ee a 
sr 


< ee tat 


é 


- 8Gioe Beor edad digomentid | ; . . 


1927]  Gayton—Kroeber: The Uhle Pottery Collections from Nazca 7 


TABLE 2 


SHAPE, BACKGROUND, AND COLOR SCHEME FREQUENCIES 


Trait occurrences...................... 


Forms: 

A 
Angular bowl..........000....... 
OU aDO Wie te ee 
Round-bottom bow/l........ 
Double-spout jar.............. 
PelaviNG DOW! s25c. 400. 


tr Ct bP} be 


Totals: 147 


xX 
Straight bow] )c.5.ss.....:. 
Point-bottom bow/l.......... 
Lage) CetSfcol Es ee me 
Wide-mouth jar................ 
Bulbous IT vase................ 
Shallow bowl..)...........00..... 
Handled jar............... eae 
Narrow-mouth jav............ 
Conical bowls... 


QRHAyWTZOWO 


Totals: 159 


Head and spout jar........ 
pp Veg Nh ofetnig2 kc]: ee 
Conical goblet............0.0..... 


Flaring rim vase.............. 


Zoe Sa AE pte 


Totals: 230 


Double curve goblet....... 


Angled goblet......0.0.000000... ; 
10 ere ee ie 


® 
oO 
i) 
o 
5 
5 
oO 
oO 
° 
a 
a] 
o) 
mH 
362 
B51 5 
30 | 16 
21 7 
Sree. 
34 | 18 
68 
Bais 18 
Teah) iad 
12, <8 
13 | 8 
36 | 29 
nl ee: 
Real a7 
3a) 29 
oe ey 
116 
ee 
iain 8 
beau 10 
Tun. 6 
10 | 10 
oa oe 
30 | 25 
O21 
30 | 28 
7 Nat ees 
47 | 34 
178 


80 


20 


one bwo wore 


20 


56 26 
$222 
9 
4 4 
2 
9. 92 
31 8 
6 
Ta: 
2 
3 61 
1 
1 
3 
Ls Sea 
5.5 
2 
1 
2 
1 
1 
ie Oy 
3 
12-12 


Background color 


W R B Br? y2 


12 


Number of colors 


49 141 163 160 


m bo CO bo 


13 42 


bo w or bo 
co 


27 «52 


bo 


a 
— 


— 


bo 
aOonwWwrree rd we 


57 Gags q 
| g 
3 8 
= = 

15 2 

te ae 

11 

4 

ed a | 

OF 10 set 

46) 385" 6, 0 5.34 4.80 

1 

4 1 

Bink 

OF Saat 

Soiet 

Ooi 

Zee ok 

Ghia Bere 

15 3 

51 22 4 0 4.95 4.47 

oer 

3.7 

en) 

8 oe ni 

3 6 1 

lian d 

Ses 7 . 

10.9 1 

$14.5 

8.410) (3 

10.29% "2 

66100 6 2 5.89 5.23 


by its yellow ingredient; G, gray, varying from blue-gray to putty ; 


Br, brown, always dark; Br’, brown 2, a light brown with a strong 
reddish tone; F, flesh, a clear, pale, red-orange; and V, violet, always 


light and grayish; B, black; W, white.* 


* Key to color schemes in text figures: red, cross-hatching; red 2, hatching 
upper left to lower right; yellow, vertical or diagonal hatching lower left to upper 
right; brown, diagonal cross-hatching; brown 2, vertical with diagonal hatching ; 
gray, broken hatching lower left to upper right; flesh, stippling; violet, broken 


vertical. 


[Vol. 24 


University of California Publications in Am. Arch. and Ethn. 


*~ 60 ir ie 
an 
ereiere 
yh Hs Ss 
int or» o 
ie oo ~ 
HG => 
HH = 20 eS 
i} tos | ~n 
Nona P os 
ae | 


Wy 
aw 


Zigzag; 21 


0, 


White-mouth trophy head; 


Centipede band; 
Detached ‘‘flecks’’; 2 


Radiating heads; 


Designs and motives of Nazca style ware: 1, Two-headed serpent; 
Hummingbird; 4, Other birds; 5, Step-block I; 6, Centipede 


ool ‘oo 
GAs, 
oan cs 
‘Bok 
mn 
——/ ID 
ad Saad 
—/, aes 
TTT =e. n 
Y BOs 
y Pee ri 
Y, aa 
ong 
fl 
cas 
SRF 
mH 
Ss n 
ona 8 
A os 
Ooo 
eumeunlinaionig aca Aw BBS 
al a ~ oes 
ay" Bee 
. ww’ 
, a ek ke 
Hora SH 
eel OG en a 
Yj RS) esl = HE 
My, CN B= 


Gayton—Kroeber: The Uhle Pottery Collections from Nazca 


1927] 


KAA 5 
OY 
Wr 
WY | 


i 
XY 
XY 


XXX 
XY) 
YY 


we 


\ 


23 


: 
XY 
“ 


y 


/ 


. 


Y 
J 
Y 
i 


4 
4 
4 
y 


SSSSVsg 
SSS 


SSS 


2 
2 


Yy 


ili 


34 


=~ 


2VIBH 
& 9 gore 
lo) . 
Ba HAS 
ao 8 eat 
op ge 
Os eres 
nin een 
lox Pers ae) 


Parrot; 


b 


32, Arrow (alone); 33, Jagged-staff demon; 


Designs and motives of Nazca style ware: 2 
demon head; 23, Lattice; 24, Painted Cheek; 25, Quadruped; 26 


nf 


Degenerate profile heads; 36, Boxing; 37 


Complete persons; 28, Quartering; 29, Open hand; 30, Curviliniar head 
hand); 39, Degenerate profile head and demon; 40, Triangular head series. 


4 
° - 
eS 
S ae 
SARE 
= fe 
S : na 
S Rag 
S Qo 
S ieee 
ee ~ (2 
re 
ig no & 
ra ial sae) 
iui Ro hay 
ey on OD 
ans 
mae 


10 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


Backgrounds are limited to five colors, white, red, black, yellow 2, 
and brown 2. Though white is predominant in this use, red is equally 
characteristic. 


Color schemes include from two to eight colors. Four, five, and 
six-color schemes are most numerous, while not a single instance of 
plain ware occurs. The most usual color combinations are: 

2-color: B—W, R—-W 

3-color: R-W-B; Y or Y2 sometimes substituted for W 

4-color: R-W-B-Y, R-W-B-R2 

5-ecolor: R-W-B-R2-G, less frequently R-W-—B-R2-Y; R-W-B-Y-G 
6-color: R-W—B-Y-—R2-G, R-W-—B-Y-R2-Br 

7-color: R-W—B—Y—R2-G-Br 


The two 8-color pieces (4-8907, 4-8908) add V to the 7-color 
scheme. Other combinations occur, but rarely: R-W—B—G—Br—-V-F' 
(4-8886); R-W-B-G-Y2-Br?-F (48456); R-W-R-G—-Y-R?-V 
(4-8949). 

The distribution of figures in table 1 indicates two definite stylistic 
trends. These are manifested in the preponderant occurrence of 
design traits 1 to 11 on shapes A, E, F, H, U; and design traits 26 to 
40 on forms I, J, K, L, M, N, 0, V, W, X, ¥. Designs 13 to 25 are found 
on both groups of shapes just enumerated and on a third group 
composed of shapes B, C, D, G, P, R, S, T. These shapes of this third 
group are sometimes decorated with designs of groups 1-11 and 
26-40, but most frequently with designs of groups 12 to 25. On the 
basis of these frequency groupings two Nazca substyles and an inter- 
mediate phase are defined. These have been designated as A, con- 
taining 147, or 27.4 per cent, of the total 536 specimens of classifiable 
Nazca style ware in the collection; X, the intermediate phase, 159 
pieces or 29.7 per cent; and B, 230 vessels or 42.9 per cent. 


The following figures summarize the data presented in table 1, 
expressing in percentages the occurrence of A, X, and B designs on 
A, X, and B shapes. For instance, of the 163 significant designs or 
design-parts counted on style A shapes A, E, F, H, U, 47 per cent are 
style A designs 1 to 11. 3 


PERCENTAGE OCCURRENCE OF DESIGNS ON SHAPES GROUPED BY SUBSTYLES 


A designs X designs B designs 

1-11 12-25 26-40 
A shapes, ‘AJB, 8, Hj Ural eee es 47 45 eye! 
XM Shapes, B-DiG) Po hcd ee 19 56 25 


1B shapes, 0, VY 2.41 ca ee eee 2 46 ay 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca vad 


The styles A and B are further characterized by differences in 
the use of color. There prevails in A a preference for red or black 
backgrounds and a five-color scheme; in B, for white backgrounds 
and a six-color scheme. Below are given in percentages the color trait 
occurrences of table 2 for each style. 


PERCENTAGE OCCURRENCE OF COLOR TRAITS ON SHAPES GROUPED BY SUBSTYLES 


Background color Number of colors 


A shapes 

eat. Wade” Osc s. <5; Raters 6 0 24 Ouee2o) cole. 26 3 0 
X shapes 

B-D, G, P—T........... (ou 13 8 4 3 De Lieto oe. Le 2 0 
B shapes | 

SO Ve firs 9 5 2 4 0 4 20 29 48 3 1 


The difference between the A, X, and B groups is particularly 
evident when W and Y? are taken together as light, and R, B, and 
Br? as dark backgrounds: 7 


Light Dark 
backgrounds backgrounds 
BRM UAL OR, hc Re Ys oan Bh iced Gist 46 54 
“eS DEY ATEES Ge eal ae ee 76 24 
(RS SOL RIE GPCESS, Se a en A ey ee 81 19 


It must be borne in mind that only a characterization of substyles 
is attempted. The data do not suggest that A, B, and X were con- 
fined to rigidly defined times or places but rather that they are the 
major variations that occurred within the duration of one general 
mode. 


COMPARISON WITH OCUCAJE 


The validity of this segregation into three styles or substyles was 
tested by applying its requisitions to a collection of ‘‘Proto-Nazca’’ 
ware from Ocucaje, a locality in the valley of Ica. This collection 
has been previously described and given a chronological placement.’ 
It contains 115'° whole vessels of pure Proto-Nazca style accompanied 


9 Kroeber and Strong, The Uhle Pottery Collection from Ica, this series, 
21:95-133. 


10 The number of vessels used in this treatment differs from that cited by 
Kroeber and Strong because of the inclusion by the latter of ‘‘Proto-Nazcoid’’ 
ware, broken vessels, and a collection of sherds from Santiago in the valley of 
Iea. This additional material is also in the general style of Nazca, but was 
excluded from the present analysis because a pure series from a single locality or 
group of closely adjacent cemeteries was desired. 


12 University of California Publications in Am. Arch. and Ethn. [ Vol. 24 


by site and grave provenience. The design and shape characteristics 
of these were tabulated like those of the Nazea collection. 

To validate the stylistic segregation made, the Ocucaje data should 
show two results. First, the correlation between A shapes and A 
designs, B shapes and B designs, should be as high as that of the 
Nazca ware; and secondly, the Ocueaje collection being from one 
locality as compared with the many in the Nazca district, it would be 
expectable that one style should predominate. Both conditions were 
fulfilled, as shown by the following. 

Of the 115 vessels, 98 are in A forms, all five of the A forms being 
represented ; 10 are in two X forms, P and Rk; 3 are in two B forms, 
v and x; and 4 are of two local forms which were called incurved bowl 
and beehive bowl.11 This makes the approximate percentage distribu- 
tion of shapes: A, 85; X, 9; B, 3; Local 3; as compared with Nazca 
district generally: A, 27; X, 30; B, 43. 

Of the designs on the 98 A shapes, 55 are A motives, with all 11 
A motives except no. 8 represented ; 32 are X motives, nos. 14, 15, 16, 
19, 20, 21, and 24 being represented; and 4 are B motives, namely, 
nos. 30, 36, 37, 38, each occuring once. A local design of a reptile-like 
creature occurred on two cup bowls and was included with the A 
gvroup of designs. In percentages: On A shapes: A designs, 61; X, 35; 
B, 4. Corresponding proportions are indicated for the other shape 
groups, though the series are too small for significance. In summary: 


OcucAJE: PERCENTAGE OCCURRENCE OF DESIGNS ON SHAPES 


A designs X designs B designs 
1-11 12-26 27-40 
98 vessels of A shapes, A, B, F, H, Uncen 61 35 4 
10 vessels of .X shapes,:P, Rudo. eee 50 ms) Ly. 
3 vessels: 68-6 shapes, ¥5 ss 2ce, ee ee eee 0 50 50 
4 vessels of local shapes...........00.c cies 100 0 0 


A comparison of this tabulation with the corresponding one already 
given for Nazca indicates that at Ocucaje, which is a restricted 
locality, a more secure relationship exists between A forms and A 
designs than in the Nazca district as a whole. A designs on X forms 
and vice versa are expectable since X represents an intermediate phase 
between A and B. Inasmuch as the substyles were presumably not 
wholly separated in space or time, the presence of three B forms and 
four B designs is not illegitimate. 


11 The incurved bowls are nos. 4-4731, 4—4746; the beehive bowls, nos. 4-4629, 
44688. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 13 


In coloring the Ocucaje ware is like that of Nazca with few excep- 
tions. Brown is frequently used as a background but only in place of 
black, in many cases probably being really a poor black. Red is 
usually of a dark purplish tone. Two instances of plain ware occur: 
these are dark brown slips. Dark backgrounds and four or five-color 
schemes distinguish style A at Ocucaje as at Nazea. 


OcucAJE AND NAZCA: PERCENTAGE OCCURRENCE OF COLOR TRAITS 


Series No. Background Number of colors 
je. SS ee en, 

W R Bee Br ’Br2> “Y2 it 2 3 4 5 6 i 8 
PER CR UN ih eececce Peeeecon2ry oe Ok toa Oo 0} 2.8 95.29) 8 Sl" 26" - gax.O 
Ocucaje A............. cme eevee 2 Om Po Abe O4e say li 6 da. 04 - Ou Bea] 
All Ocuceaje.......... Pomona. Col oO elle) 24-93. 19'930 22" 104 sabe 1 
All Nazea........:... Promos isle Oo 2 OV 9 26>°3l S80 sea 
IN ABOE Docc es..... Pereira Oso 45 Oe 0 45520 29 438 Sed 


Light backgrounds (W, Y’) as against dark (R, B, Br, Br?) run 
in percentages: Ocucaje A, 40-60; all Ocucaje, 38-62; Nazca A, 
46-54; all Nazea, 70-30; Nazca B, 81-19. 

It is clear that Ocucaje Nazca ware is a.nearly pure style, that it 
agrees closely with Nazca style A, much less closely with unsegregated 
Nazea, and least.of all with Nazca B. 

The division of the generic Nazca style into three substyles, or 
two substyles and a connecting phase, based on count of the shape, 
color, and design attributes of a presumably unselected collection of 
pottery from the region of Nazca, is thus justified by the corroborative 
evidence of a collection of Nazca style ware from Ocucaje. 

The characteristics of these substyles summarily indicated in 
tables 1 and 2 may be expanded into a brief description. 


DESCRIPTION OF SUBSTYLES 


- Nazca A.—Specimens of style A are shown in plates 1, 2, and 3. 
The forms are A, 5, F, H, U of figure 2. With exception of the double- 
spout jars (U), all are open bowls of low to medium height. The cup 
bowls (F) are differentiated from the flaring bowls (H#) by their more 
vertical sides and more acute base angle, though the extreme variants 
of each group closely approximate one another. The typical double- 
spout jars have spherical or ovoid bodies; the spouts are short and 
about parallel (pls. 1c, f; 2a, c, e). Those with X or B designs have a 
more lenticular form; the spouts tend to be longer and divergent 
(plsnid, 2d). 


14 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


In backgrounds a dark pigment, either red or black, is used as 
frequently as white. Color combinations range from two to seven. 
The bowl shapes are most frequently four or five-colored; the double- 
spouts, six-colored. The colors commonly used are R, B, W, Tee G, 
Br, and Y. 

Typical A designs are nos. 1-11 (fig. 3) ; designs 13-24 and 27-385 
also occur on A shapes but in order of increasing rarity. The most 
common designs in style A are naturalistic forms, as birds, plant 
motives, and fish, with only occasional and slight conventionalization. 
These appear on most of the bowl forms and on nearly half the double- 
spout jars. With but two exceptions the round-bottom bowls (A) are 
decorated inside: a wide border of red encircles a central disk of white 
on which are painted fruit motives or fish (pl. 3g, h). The ubiquitous 
Cat-demon (15) or feline, invariably depicted in a standardized form 
with legendary regalia and symbols, adorns most of the remaining 
double-spout jars and a few cup or flaring bowls (pl. la, e, f). 

Of geometric motives, Step-fret I (9) and Step-block I (5) are 
typical of style A (pl. 2e, f). What appears to be a careless or hasty 
execution of the same patterns constitutes the motives designated as 
Step-fret II (17) and Step-block II (81) (pl. 5c, d). While both the 
latter appear on A shapes, they are more numerous in styles B and X. 
Series of contiguous diamonds horizontally placed, zigzagging stripes, 
and latticed bands—Diamond series (14), Zigzag (20), Lattice (23)— 
are occasionally used in style A. 

Three frequent A designs are a long serrated monster cngoden 
bowls and ealled, after Uhle, Centipede (6) or myriapod; the same 
figure minus head or tail, called Centipede band (8); and White- 
mouth trophy head series (7). These last come repeated in pattern 
bands; the carrying cord dangles from the foreheads; mouth and eye- 
balls are pure white; the hair hangs in a black mass. The design is 
shown, but not in its best form, in plate 3a. These heads are often 
used as a part of the Cat-demon design: the creature carries a trophy 
head in his hand, while others may be inserted as decorations on his 
spicated wing (pl. la). 

Nazca B.—Plates 7 to 11 illustrate vessels of style B. The shapes 
are 1-0, v—Y of figure 2. In contrast to style A with its shallow shapes, 
style B, with the exception of head-and-spout jars (v), contains vessels 
of tall and narrow proportion. The only attempts at decorative 
modeling in any Nazca style ware are found on heads (vy), head-and- 
spout jars (v), and figures (x), and these attempts are confined to a 
mere pinching up of the clay to suggest ears, nose, and mouth. The 


1927 | Gayton—-Kroeber: The Uhle Pottery Collections from Nazca 15 


complete representation of the features and limbs is by means of 
drawing and color (pls. 7, 8, 9a, b, c, k). The bulbous bodies of the 
flaring-rim vases (Ww) sometimes represent heads and have a slight 
hump indicating the nose. A similar face is sometimes depicted at 
the bottom of a goblet (pls. 8c; 10d). 


Fig. 4. Stylistic changes in execution of Trophy head design (16). a, Seler, 
p-. 252, fig. 163; b, Seler, p. 252, fig. 162; c, d, double spout; e, small vase; 
f, bulbous II vase; g, h, j, cylindrical vases; i, angled goblet, Seler, p. 257, fig. 185; 
k, head and spout (plate 8f); 1, goblet. 


More than three-quarters of the B vessels have white backgrounds ; 
a few, backgrounds of yellow 2—a feature not present in style A. 
Three to eight colors are combined on a single vase. Four-color 


schemes prevail on conical (L) and angled goblets (1); five-color 
schemes on heads (yx), figures (x), and goblets (J); and six-color 


16 University of California Publications in Am. Arch. and Ethn.  [Vol. 24 


schemes on head-and-spout jars (v), double-curved goblets (kK), and 
flaring-rum (w), small (um), bulbous I (0), and cylindrical vases (nw). 
Seven-color schemes appear only on the last three forms, though the 
two eight-color pieces are goblets of small size and excellent technique. 

The colors used are those of style A with the addition of violet. 
Yellow 2 and flesh are more frequent than in A. 

The designs which concentrate upon and therefore characterize B 
shapes are nos. 26—40 of figure 3. Style X designs, nos. 12—25, occur 
with almost equal frequency on B forms, while only three A motives, 
nos. 9-11, appear and these rarely. The motives of style B are of an 
entirely different order from those of style B. The A designs are 
simple and naturalistic, and are used sparingly. The B designs are 
usually of more intricate conformation and cover the entire outer 
surface of the vessel. 

Perhaps the most characteristic motive of style B is the Jagged- 
staff demon (33),'* (pls. 8d; 9e). Undoubtedly a mythological figure, 
this may or may not be a phase of the Cat-demon (15) motive. Like 
the latter, in full form it carries in one hand a scepter, this of ser- 
rated edge from which it derives its name, and in the other, one or 
two trophy heads; a wing-like appendage is present but comparatively 
undeveloped. The creature’s head is an elaborate mass of tentacular 
protuberances—a portion of the design which is often used as an 
individual motive; it appears variously abridged and distorted but 
yet recognizable on nearly all B forms. (PI. 11a, first horizontal band, 
d, first and third horizontal bands.) 

The hand of the Jagged-staff demon is often in an open position, 
as are also the hands on some of the figures (x), and head-and-spout 
jars (Vv); in other cases than these, only the closed fist is used (pls. 
8a, b,.a; 9e). 

Bands or horizontally placed series of Curvilinear heads (30), 
Triangular heads (40), and simplified or Degenerate profile heads 
(35) are common motives (pls. 8f; 9e, 10c, h). The Degenerate profile 
heads (35) appear more frequently in conjunction with the Jagged- 
staff demon (33) than with other designs. 

The nearest approach to scenes such as commonly occur on ware 
from the northern coast of Peru depicting routine or ceremonial life, 
is the repetition of walking or dancing figures about some of the vases 
and goblets (pls. 10a, d, e, f; 11b, c). Single figures or a pair are 
used infrequently on flaring bowls (1), handled jars (rT), and double- 
spout jars (U). 


12 The term Zackenstabddmon used by Seler has been translated. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 17 


The design Spines (34) is a spicated band with trophy heads, 
vegetable motives, fruits, or insects inserted between the spines (pls. 
8c; 102). 

The Interlocked fish (26) pattern is a common one in many 
Peruvian ceramic and textile arts, but on Nazea pottery appears only 
in style B (pl. lla). One occurrence noted for style X bulbous IT vase 
(P) is not standard: it suggests a possible prototype of the design. 

It is notable that all heads (y) and the majority of facial parts of 
head-and-spout jars (v), flaring-rim vases (w), and figures (x), have 
a painted or tattooed decoration on the cheek bone, beneath or about 
the eyes (pls. 7; 8b, c, d, e; 9a, b, c). This Painted cheek (24) occurs 
occasionally on vases also. This design element occurs once in A on a 
double-spout jar (pl. 1f). 

Other designs frequent in style B are the Quadruped (25)—a 
mouse, dog, or llama (pls. 6e; 8c; 10d); Quartering (28), which is 
well illustrated by its one occurrence in style X on a point-bottom bowl 
(B), shown in plate 5d; the Face series (18) lacking any trophy head 
characteristic (pl. lla—d, second and fourth horizontal bands) ; the 
Parrot (3), a conventionalized bird form (pl. 10d, g) ; and geometric 
motives: Boxing (36) pls. 6d; 10h), Step-fret II (17) and Step-bloek 
II (81), (pl. 5e, d), and Arrow alone (32), (pl. 6f). 

The Degenerate demon head (22) is a reduced form of either the 
Cat-demon (15) or the Jagged-staff demon (33), which on several B 
shapes has dwindled to a mere reproduction of the head parts (pls. 4e, 
oe, f). The Degenerate profile head (35), which on B forms fre- 
quently occurs in a horizontal series, is sometimes placed in the hand 
of the Cat-demon (15) in substitution for the well executed White- 
mouth trophy head (16). This association of Cat-demon and Degen- 
erate profile head constitutes the design named Degenerate head and 
demon (39). 

Nazca X.—Vessels illustrating style X are shown on plates 4 to 6. 
The forms comprised are B-D, G, P—T of figure 2. As has been men- 
tioned, the constitution of style X is not the result of a functional 
relationship between shape and design such as determines styles A 
and B, but is dependent on the participation of the style X shape 
groups in design traits of both style A and style B. The designs that 
aggregate most heavily on X forms are at the same time those that 
are most common to A and B, thus placing X in a specifically inter- 
mediate position between the two definite styles. The stylistic posi- 
tion of bulbous II vases (Pp) depends on five occurrences of X or B 
motives on this shape. The designs most typical of bulbous IT vases 


18 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


and occurring on no other forms are amorphous masses of paint, 
apparently applied with a single large brush stroke. 

With the exception of the bulbous II vase (Pe) group, the shapes 
of style X are variations of bowls and jars. The bowls lack the flanged 
edge of cup (F) or flaring bowls (#1) and have vertical sides. Povnt- 


Re 


= 
Ss Ee \\ 


TEE 
af 


Fig. 5. Stylistic changes in execution of spicated ornamentation (34). 
a, cup bowl; b, double-spout jar (pl. le); c, narrow-mouth jar; d, goblet; e, 
miscellaneous; f, angled goblet. 
bottom (8) differs from rownd-bottom bowl (A) in its base, which 
comes to a palpable apex, and in the placing of the design on the out- 
side more often than on the interior. In proportions shallow bowls 
(p) are much like angular bowls (£) of style A, but the shallow bowls 
have coneave sides. The style X jar shapes, similar to one another in 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 19 


range of size and in contour, are distinguished by the type of opening : 
wide-mouth (rR) with low rim, narrow-mouth (s) with comparatively 
high rim, lipless (Q) with ineurving mouth, and by the presence of 
handles, handled (1). 

In the use of color, style X with its high percentage of white 
background occurrences approaches style B, while in color schemes it 
tends toward style A, four or five colors being combined most often. 
The frequency of three and four-color ware is greater in X than in 
either A or B, due largely to the preponderant bulbous II vase (P) 
group. 

While there are no designs with the exception of Radiating heads 
(12) that belong exclusively to X shapes, many are in a sense dis- 
tinguished from their A or B analogues by being variants or distor- 
tions of them. Thus the Fish (11) of plate 4c, the Birds (4) of plate 
4d, the Cat-demon (15) of plate 4f, and the Centipede band (8) of 
6a, are A designs but rendered somewhat differently from their 
equivalents on A shapes. 

The designs with most numerous occurrences in Nazca X are 
Naturalistic fish (11), Cat-demon (15), Face series (18), Quartered 
bottoms (28), and Detached flecks (19). The last is a term covering 
the use of small designs or amorphous flecks which fill vacant spaces 
on or between design units (pls. 2d, 5e). 


RELATION OF SUBSTYLES 


The lack of stratigraphic proof or even of local and grave pro- 
venience leaves the chronological relationship of styles A and B 
undeterminable by evidence other than inherent stylistic features. An 
interpretation of stylistic traits, unsupported by extraneous proof, is 
not a reliable basis on which to build a chronology. There are, how- 
ever, in styles A, X, and B, changes in the construction or execution 
of several designs which are significant in this regard. The changes 
are of a sort that suggest temporal sequence. These are presented 
here not as final determinants of stylistic relationships but as the only 
available clues to the chronological situation at Nazca. 

As shown above, the constitution of a substyle depends not only 
on the association of a given group of shapes and designs but also on 
the dissociation of the same group of shapes from other designs. Thus, 
style A consists of shapes on which are found preponderantly designs 
1 to 11, designs 12 to 25 frequently, and 26 to 40 rarely if at all. 
For style B the situation is the same with the design frequencies in 


20 University of California Publications in Am. Arch. and Ethn. [ Vol. 24 


reverse order. Certain of those designs which are most typical of 
styles X and B, namely, Degenerate heads (5), Degenerate head with 
Cat-demon (39), Curvilinear head series (30), Triangular head series 
(40), Spines (84), Step-fret II (17), Step-block II (81) and Degen- 
erate demon head (22) are not totally dissimilar from motives appear- 
ing on A shapes. These designs in style A show those of X and B 


y, Ly 
LL] 


age 


S 
= 
N 


‘ Cr) 


E F 


Fig. 6. Abbreviation of Cat-demon design (15) to face and head parts (22). 
a, narrow-mouth jar (pl. 4f); b, angled goblet; c, head and spout jar; d, e, 
lipless bowls (pl. 5e, f); f, narrow-mouth jar (pl. 5a). 


to be the same in content and merely different in execution. Com- 
parison of a number of these designs with their A equivalents suggests 
that the difference in execution of the X and B designs is due to a 
hasty or careless technique in the X and B rendering. For example, 
the trophy head which occurs on cup bowls (Ff), flaring bowls (B), 
and double-spout jars (vu) of style A, either isolated or as part of the 
Cat-demon’s regalia, carried in its hand, or decorating its wing, is 
rendered in a standard manner with white eye and mouth, a pendant 
sling, and a mass of long black hair. These traits constitute designs 
nos. 7 and 16. On vessels of style X, narrow-mouth jars (s), and 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 


a 
28. 
irs 
‘Bese 

ee 


on SBE f 

Seee8enuaa8) @eagn 
SSUS8eR8e0en8 o ’ 3 CACe hs 

= BACTCRIGRAeS ea 

Ke BEStgss aRgeR as 


Fig. 7. Stylistic changes in execution of Step-fret designs (9,17). a, angular 
bowl (pl. 2f); b, goblet; c, cup bowl; d, goblet; e, conical bowl; f, point-bottom 


bowl (fig. 11d). 


22 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


style B, head-and-spout jars (v), goblets (J, L), and vases (M, N, 0), 
trophy heads are also used as units or with the Cat-demon. These are 
not done in the manner of style A but consist of a few slurred lines 
indicating the facial contour and the mass of black hair. The white 
eye and mouth of formal technique are lacking; the carrying cord is 
seldom shown. It is only the hair and the position of the object in 
the demon’s hand that indubitably identify the design as a trophy 
head. It is this style B rendition of the trophy head motive that is 
called Degenerate profile head (35). The A and B extremes of this 
subject (nos. 16 and 35) are related by a series of intermediate 
variations which are shown in figure 4. 

The nature of these intermediate variants permits a tentative 
chronological interpretation to be made concerning the sequential 
relationship of styles A, X, and B. The execution of the motives on 
the X and B shapes appears to be the careless or hasty rendition of 
a design already well known—a realistic design which through con- 
tinuous recopying was reduced to a few symbols retaining the mean- 
ing or content of the original. The B abbreviations of this motive are 
in no sense amorphous or even geometric figures which might have 
stimulated the Nazca ceramic artists to realistic interpretations. Thus 
the changes in the rendition of the trophy head design argue for the 
temporal priority of style A. The chronological relationship assigned 
to the two substyles on the basis of this apparent transition is sub- 
stantiated by similar changes in the execution of other designs 
mentioned above. 

These X and B designs which are significant in indicating a sequen- 
tial relationship between styles A and B will now be taken up. The 
series of designs arranged to illustrate this probable stylistic evolution 
(figs. 4, 5, 6, 7, 8) are mainly taken from specimens in the Uhle ecol- 
lection. They have been supplemented, as indicated in the legends, 
with pertinent designs shown by Seler’® in his analysis of Nazca 
pottery ornamentation. | 

The Cat-demon’s wing with its decoration of trophy heads under- 
goes a structural change and a transposition. As shown in figure 5, 
the Cat-demon (15) is frequently depicted on Nazca A forms with a 
long wing-like appendage ornamented with alternating Spines (34) 
and trophy heads. On two flaring bowls (H) of style A, one handled 
jar (T) of style X, and in 28 total occurrences on six vase or goblet 
Shapes of style B, the appendage is abstracted from its original posi- 
tion and is reformed as a separate band (Spines, 34) encircling the 


13 Seler, work cited. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 23 


vessels. Insect-like objects and fruits or seeds often replace the 
trophy heads on the spicated band of these same shapes. A similar 
substitution is to be seen in the Cat-demons which ornament bulbous I 
vases (0) of style B. 

The Cat-demon (15), a popular subject through all Nazca styles, 
also suffers an abbreviation into a mere head though unmodified forms 
occur on the same shapes. Figure 6 demonstrates this series. The 
abbreviated or decadent head appears once on an A-shape; four times 
on two X shapes (pl. 4e) ; and six times on four B shapes. The per- 
centile increase is not sufficient in this case to bear much weight. It 


* 

ix) 
x) 
XY 


mi 
ae 


XY 


AX 
Sigeaeee 


A? 
WN 
OY) 
nara 

BO 
OY 
wed 


RY NRY) 
x 


x 
‘ 
y 
\ 
‘ 
i in 
. 
rar 


OSOSLSo ereres 
SSOS SSS LSS OSS SSO 


M 


Fig. 8. Stylistic changes in execution of Step-block designs (5, 31). a, 
angular bowl (pl. 2f); b, cylindrical vase. 


is notable, however, that the Cat-demon motives which occur on A 
forms are always, with the one exception mentioned, completely and 
elaborately executed; on X forms, namely, wide (R) and narrow- 
mouth jars (Ss), and shallow bowls (pd), the mythological figure is 
frequently distorted and contracted (pl. 4f). 
Step-frets and Step-blocks suggest still another series of changes 
(figs 7, 8). Those found on A shapes are mostly of type I (nos. 5, 9) 
with rigid lines and accurate angles. Those of type II (nos. 17, 31), 
typical of shapes of X and B styles, are executed in a cursive manner, 
the lines curve to the brush stroke, the line at the angle is carried on 
into the design space, and the edges, perpendicular in type I, slant off 
in a ‘‘wind-blown’’ fashion. It might be argued that for a geometric 
motive which possesses no content or meaning or graphic purpose, a 
stylistic transition would as easily be in the direction from slovenly to 
rigorous technique as vice versa. That, in this instance, II follows I 


24 University of California Publications in Am. Arch. and Ethn.  [ Vol. 24 


is suggested by the frequent association of II on the same vessel with 
the designs Degenerate profile heads (35) and Spines (34), which 
have meaningful equivalents. 7 

The relation of the Jagged-staff demon (33) to the Cat-demon (15) 
is not clear from an analysis of their design elements. Though the 
Jagged-staff demon is often depicted carrying trophy heads (always 


Fig. 9. Stylistic degeneration of the Jagged-staff demon design (33). 
a, e, small vase; b, c, cylindrical vase; d, Seler, p. 271, fig. 228, angled goblet; 
f, flaring rim vase; g, conical bowl; h, narrow-mouth jar. 


of the degenerate type) and a scepter-like object, has a wing-like 
appendage, and is posed as if flying, the treatment of the figure is 
wholly different from that of the Cat-demon (pls la, e, f; 8a, e; 9e; 
fig. 9). The florescent elements characterizing the Jagged-staff demon 
are occasionally added to the more soberly treated Cat-demon. These 
additions appear only on one or two B vessels, bulbous II vases (P). 
Another example is shown by Seler, but unfortunately the vase form 


bo 
On 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 


is not represented. It would seem that the Jagged-staff demon was, if 
not in mythological concept, at least in graphic treatment a develop- 
ment which replaced rather than modified local ceramic decoration. 


The Jagged-staff demon appears in abbreviated versions with fre- 
quency. Figure 9 shows its most elaborate variations and a series of 
its modifications. The head alone is often used, and this is further 
contracted into a medallion-like ornament composed only of spiral 
elements radiating from one remaining eye. It is notable that this 
extreme variant of the motive appears on ware from Nazca which is 
not in the Nazea style but related to it (style Y, see below). On the 
vessels of this semi-Nazea style are flower-like ornaments whose 
stylistic treatment strongly suggests a genetic relationship with the 
reduced head of the Jagged-staff demon (pls. 11d; 12a, c, d, e; fig. 10). 


The occurrence of A designs on B shapes can best be explained as 
a persistence of design traits. Similarly, B designs on A shapes are 
explicable as instances of form persistence. The contention of per- 
sistence will have to be held to regardless of which substyle is given 
priority. A few cases of such overlapping are not incompatible with 
the assumption that styles A and B represent modes subordinate to a 
general Nazca style. Furthermore, the collection of pottery on which 
this study is based represents the ware of a number of different locali- 
ties; no two localities would receive new traits in precisely the same 
order; nor would any two have precisely the same trends influencing 
the acceptance or rejection of new traits, and the retention or discard- 
ing of old ones. | 


The foregoing interpretations are offered not as conclusive proofs 
but as suggestive evidence derivable from the material in hand point- 
ing toward a sequential relationship of the Nazca substyles: A on the 
whole earlier, B later, with X overlapping and connecting them. 


This tentative conclusion is the opposite of that of Tello, who in 
1917** distinguished a ‘*Nazca’’ style’® corresponding to our A (and 
apparently X) from a ‘‘Pre-Naseca’’!® corresponding to our B. In 
1923, on the basis of ‘‘subsequent excavations,’’ he stated :1° 

There are in the archaeological district of Nasca three clearly identifiable 


strata: the deepest, Pre-Nasca or Central Archaic; the middle, local of Nasca; 
the uppermost, Tiahuanaco and Inca. The first, in virtue of its marked relation- 


14 Work cited in note 3, ante. 
15 Ibid., figures 8-22. 
16 Ibid., figures 23--27. 


17 Page 584 of work cited in note 4. Figures 78-86 are Central Archaic or 
Nazca B. 


26 University of California Publications in Am. Arch. and Ethn. [| Vol. 24 


ship with the Andean Archaic, had its origin in the Sierra, during the long 
Archaic period; the second is a differentiation of the first and corresponds to the 
flourishing culture of the period of the apogee of the Coast; and the third is the 
product of the last Andean irradiation, consummated by the Incas. 


We hesitate before the dictum of so distinguished a scholar but our 
analysis has led us one way only. If our findings are inverted by the 
publication of Dr. Tello’s full excavation data'® or by further 
explorations, a new problem of stylistic development will be raised.*® 


OTHER STYLES 
NAZCA Y 


Nazea Y is the tentative designation for a somewhat heterogeneous 
style represented by about fifty pieces secured by Uhle in the Nazea 
area and shown in plates 12-17. Some of these vessels are obviously 
close to ‘‘typical Nazea,’’ that is, are related to substyles A, X, and B. 
Others show such ‘‘‘true’’ Nazca traits in weaker form. Now and 
then definite Nazca traits are found combined in one vessel with 
traits characteristic of styles that center elsewhere. What is common 
to all the specimens in the lot is some degree of specific Nazca 
similarity plus a tendency to use few designs and to treat them in 
reduction or with slovenly execution. The connections of this Y 
style are closer with the B than with the A form of typical Nazea. 


Three principal trends can be distinguished in Y as compared with 
A and B: (1) The design becomes curved, hasty, and inaccurate. The 
ground color is dull yellow or buff, ranging to a muddy reddish. The 
majority of vessels in this manner are jars, many of them with 
modeled faces on the lip. (2) The design tends to become geometric 
while the texture of the ware is hard and polished. The ground color 
is red of a somewhat different hue from the A and B red, approximat- 
ing somewhat the red ground in Middle Ica ware. (3) There is a 
tendency to freely modeled forms, birds, animals, and human beings, 


18 The important article Wira-Kocha in which the statement occurs, and the 
first two installments of which occupy pp. 93-320, 583-606 of volume 1 of Inea, 
deals primarily with general Peruvian problems of mythology, symbolism, and 
culture development and does not include descriptive reports of results of 
excavation. 


19 For instance, the Nazca Y style examined below and placed posterior to 
Nazca B, would apparently have to be put at the beginning of the series of Nazca 
styles if B is anterior to A, because Y is more similar to B than to A. Thus 
Tello’s figures 27 (1917) and 83 (1923), cited as examples of B, would re 
have been reckoned as Y by us. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 27 


whereas the typical Nazea rarely proceeds beyond heads in its model- 
ing. Plates 12 and 13 illustrate the first trend, plate 14 the second, 
plate 17 the third, whereas in plates 15 and 16 all three tendencies are 
represented. 


Type Y1—Jars of the type shown in plates 12 and 13 make up 
more than a third of the Y style collection—23 pieces. Sixteen of 
these have the mouth worked into a human face of which the principal 
modeled feature is a convex nose whose root is often set above the 
eyes. The latter are painted long and narrow and sometimes slant. 
The mouth may be modeled, painted, or left unindicated. The type of 
face is akin to the faces of Nazea X and B, whether these occur 
modeled or wholly painted. Even special features of Nazca B faces, 
such as the representation of fage paint under the eyes, and side locks 
of hair falling across the cheek, can be observed (pl. 12a, c). Some- 
times the human face is replaced by a bird head (pl. 12e). 

Thirteen of the 23 Y1 jars have a flat handle curving from the 
neck to the body (pls. 12a-f; 13e). One has three large suspension 
handles on the body (pl. 13d), three have one small suspension lug 
below the neck, and six have neither handle nor lug (pl. 13), c, f). 
Face and handle tend to be associated: 12 of the 13 handled pieces, 
but only 4 of the 10 without handles, have faces. 

The most characteristic design is a flower-like one (pls. 12c, e; 13d; 
15e; 16c). With this may be reckoned plate 12d, which in turn passes 
into crosses like 12b and 18f. On the other hand, the flower-like design 
is related to more complex figures like plates 12a, 15c, 16b, which have 
all the appearance of reduced remnants of the Jagged-staff demon of 
style B. Figure 10 shows the gradual transition in style Y specimens, 
from such degenerate Jagged-staff demon figures, reminiscent of 
Nazca B, to the simple flower-like designs typical of Nazea Y. 

The other designs occurring on jars of the Y1 group are simple, 
consisting chiefly of parallel wavy lines; groups of parallel straight 
lines or bars; and groups, areas, or lines of dots or circles. A step- 
fret occurs in a deep bowl (pl. 16c) whose color, texture, and flower- 
like pattern affiliate it with the jars that constitute the Y1 group. 

Type Y2.-—The polished red ware with prevailing angular designs 
includes two flat bowls or plates painted inside (pl. 14c, e); two 
smaller bowls painted outside (pl. 14d, f); five jars that vary con- 
siderably in form (pls. 13); 14a, b; 15f; 16e) but agree in lacking 
both flat handles and faces. Two of these jars are wide-mouthed ; two 
are medium-mouthed with one suspension lug; the fifth is tapering in 


28 University of California Publications in Am. Arch. and Ethn. [| Vol. 24 


the mouth with two rather large suspension lugs. One of the wide- — 
mouthed jars (pl. 15f) has ten projections ringed with “white—a 
Middle Ica trait; in the hollow between each pair of white rings is a 
red ring which does not show in the photograph. None of these jars 
evince much resemblance in shape to typical Nazea jars (fig. 2, R-T). 


(TTT 
ase 2 (ti(‘(CW!;CO AR 
<I 
x] 
Ay 
<CU™s 


STP. Veet TTY 
SOs 


Fig. 10. Stylistic relation of degenerated Jagged-staff demon (ef. fig. 9) 
and flower-like designs in Nazca style Y. (d, pl. 12a; e, pl. 15c; f, pl. 12e; g, 
pl. 12d; h, pl. 15e; 9, pl. 12¢). 

* 


Small oblong or box-like bowls bear either rectilinear designs 
(pl. 16a and another specimen) or curvilinear ones of the degenerate 
Jagged-staff demon type already mentioned (pl. 15c). The goblet 
shown in plate 15d does not strictly belong to the Y2 group because its 
eround color is brown or dark buff, with pattern in red, white, and 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 29 


black; but its square mouth links it to the oblong bowls. Another 
affiliation is the jar plate 13e, which has been included in the Y1 
group on account of its flat handle and buff ground color, but whose 
body is five-cornered. These polygonal vessels have occasional! 
analogues in vessels with true Nazca style designs (specimens no. 8505, 
8590, of ‘‘miscellaneous’’ shape class z). 

Y1 and Y2.—More or less intermediate between the Y1 or buff and 
the Y2 or red group are the following : 

Five open bowls, including plates 15e¢ and 16). These differ in 
shape from the Y2 red-ground bowls just discussed; and from Nazea 
A shape A bowls in being deeper and painted outside. Plate 15e in 
fact recurves. The unillustrated specimens have somewhat more 
geometric pattern than those shown. One of the five (8942) has a 
red ground, the other four are buff. Two deeper bowls are those in 
plate 16c, d, the latter similar to shape @ of Nazca X. Both are buff, 
but the design area in 16d has a red ground. 

Of goblets, besides plate 15d already described, there is plate 16f, 
which is buff with a black and red design verging on Epigonal or 
careless [ea manner. . 

On the whole, these eight pieces belong rather with the Y1 or buff 
than with the Y2 or red ware group; but they are transitional, with 
certain non-Nazca resemblances. 

Type Y3.—tThe third group of Nazca Y vessels, distinguished by 
modeling and some tendency toward white ground, is represented in 
plates 17 and 15a, b. With these pieces may be included a low white 
bowl (9007) ; a bird jar (8423) similar to plate 16e; and a pair of 
small unhandled jars with tapering spout, finished in a dull rough 
red on which is a white zone carrying eight fruits executed in five 
colors and with a general effect similar to the fruits and flowers in 

erat pis OL). 

Besides modeling, the present group shows some fair painting. 
»The remarkable specimen plate 15a, b is executed in five colors, with 
much fineness and accuracy. Plate 17e also has five colors, although 
the painting is slovenly and the shape, ground color, and texture are 
similar to those of the Y1 buff ware. The unillustrated bird jar 
no. 8423, a head-and-spout form lke 17f, also has five colors. The 
monkey with the corn ear (pl. 17d) is a well painted and polished 
double jar, although its design allies it with the Y1 group; the other 
four pieces in plate 17 have white ground color. 

It is not clear whether this Y3 lot of specimens forms a true group. 
Pieces like plates 15a, 17f might well be put into the Nazca miscel- 


30 University of California Publications in Am. Arch. and Ethn.  [Vol. 24 


laneous shape class (z), or be regarded as divergent forms of Nazca B 
head-and-spout (v). 

Relations of style Y.—-The Y1, 2, 3 material taken together has 
(1) seattering specific resemblances of shape, texture, color, and 
design to Nazca A, X, B; (2) more instances of partial resemblances, 
such as the tentacled designs that look like degenerated Jagged-staff 
demon figures, and of traits, such as the flower-like and cross designs, 
whose vague resemblances to the Nazea style are convincing chiefly as 
they in turn link with the foregoing; (3) a series of traits pointing 
to various styles other than Nazca A—X—B ;?° and finally, (4) certain 
characteristics, such.as the shape, texture, and color of the buff face 
jars of plate 12, which might be taken as representing an independent 
style if it were not that they usually come associated with Nazcoid 
traits. 

This situation seems hard to explain except on the ground that 
style Y represents a late or decaying form of styles A—X—B, in which 
occasional A~X-—B traits persisted, more were degenerate, still others 
were altered so as to be virtually new, and in addition traits of the 
Tiahuanaco, Epigonal, Ica, or other foreign styles were being absorbed. 

This interpretation would make style Y a final, impure, or dying 
phase of the Nazca style as represented by A—X—B. 

The opposite interpretation, that Y preceded A—X-B, is logically 
possible, but is open to the same objection as the placing of B before 
A in time: One can feel Y designs as degradation of A—~X-—B designs, 
but not the latter as developments or erystallizations out of the rela- 
tively formless and aesthetically meaningless Y designs. However 
subjective such a criterion, it is all there is to lean on in the absence 
of objective excavational data. It may be added that the degenerative 
relation of Y to A-X—B, especially to B, seems even more marked than 
that of B to A which has been discussed in detail above. 

Further, the non-Nazca stylistic traits in the Y material are more 
easily interpreted as relatively late than early. Tiahuanaco, Epigonal,” 
and Ica—the foreign styles chiefly represented in Y—have always 
been considered by Uhle, Tello, Means, and others as later than Nazca. 
The situation calls for no special comment if it is assumed that the 
influence of these foreign styles began to invade the Nazca district 
"20 For instance, the humped animal of plates 14a and 16e, probably one of the 
‘‘feline deity’’ designs to which Tello attributes a north Andean and Uhle a 
‘“Tiahuanaco’’ origin. Even the associated ‘‘stars’’ are present in 14a (but note 
the tentacular or fleur-de-lys appendages in decadent Nazca manner). Humped 
animals with stars occur in Middle Iea. The stars or dots appear again with a 


frog-like animal in 14b and 16d; the frog without stars, in 14c. The monkey 
double-jar 17d is of course Chimoid in shape and modeling. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 31 


after the typical native style A~X—B had begun to disintegrate. The 
opposite assumption would involve an explanation of why the extran- 
eous influences first reached the Nazca area, then failed to affect it 
while a local Nazca style was developing, but subsequently replaced it. 


D 
Fig. 11. Vessels in Nazea styles A and B. a, of miscellaneous shape class; 
b, angled goblet (?); c, cup bowl; d, small vase. 


Another possibility, that the Y material is not an actual time unit 
group but an artificial museum mixture of pre-A—X-B and _ post-— 
A-X-B pieces, seems too remote ‘to discuss with profit as long as 
specimens are few and data wanting. 

All in all, then, it seems most warranted, until specific evidence 
to the contrary may come in, to regard style Y as a late phase of the 
Nazea style, in which some traits of the classic or A-X-B Nazea style 


32 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


persisted, others remained in abbreviated or altered form, new traits 
had evolved out of the old tradition, and still others had been taken 
over from styles that originated and developed elsewhere. 

As for the specific relationship of Y within the Nazea style as a 
whole, this would be with B: not only because B has already been 
interpreted as later than A and X but because the specific resemblances 


a War Wal ad | yy 


= ey 
ORS OES 


C 


Fig. 12. Vessels in Nazea styles A and B. a, flaring bowl; b, angled goblet; 
c, small vase; d, double-spout jar. 


of Y are with B. Such are the resemblance of the flower-like Y 
designs to the extreme forms of the Jagged-staff demon B design; the 
head-and-spout shape; and the tendency toward plastic modeling.*! 


21 Thé evidence at hand which most definitely seems to run counter to the 
derivation of Y from B is that yielded by the substyle classification of the vessels 
to which Uhle assigns specified locality proveniences. Of six Nazca localities for 
which the pottery series are worth while, one has a definite preponderance of A 
ware: Ocongalla (32 vessels), A, 81 per cent; X, 6; B, 13. Three are preponder- 
antly B, with or without a moderately large X element: Tunga (53), 9, 34, 57; 
Ruins of Nazea (14), 7, 14, 79; Majoro Grande (18), 6, 11, 83. Two yielded Y¥ 
material, and in both of these, A, X, B, and Y pieces are about equally frequent: 
Traneas (36), 28, 25, 20, 27; Soisongo (57), 23, 24, 30, 23. The assumed time 
sequence A—X—B-Y would obviously make a low frequency of A and a high 
frequency of B pieces expectable at any site at which Y was also well represented. 
However, these ‘‘sites’’ are haciendas, which normally include several ancient 


1927 ] Gayton—Kroeber: The Uhle Pottery Collections from Nazca 33 


The substyles or phases of the general Nazca style thus appear to 
have developed in the following time order: A, X, B, Y. There is no 
implication of their having been sharply separated, and every indi- 
cation that they overlapped. Substyle A may be described as the 
archaic phase; X as perhaps the classical; B as the ineipiently 
luxuriant or flamboyant; Y as the decadent. 

How far regional factors entered into this successive development 
remains for future exploration to ascertain. Nazca valley shows all 
four substyles in abundance. Ica to date has yielded only A from 
Ocucaje and perhaps X from Santiago. Pisco valley contains Nazca 
style ware. Beyond, in Canhete and Asia valleys, one of the present 
authors and Tello in 1925 found wares which display Y traits along 
with local ones. To the south of Nazea, in the valley of Acari, Uhle 
years ago obtained a valuable collection of Nazca type, which is 
deposited in Lima but still undescribed. 


STYLE OF ICA 


Cemeteries with ware in typical Ica style seem to have been lightly 
exploited in the Nazea region on account of the inferior quality and 
salability of the ware. It is apparently these remains that Tello means 
when he speaks of ‘‘Inca’’ cemeteries.?”?. The present collection at the 
University agrees with the observations of one of the authors in Nazca 
during 1925 to the effect that Inca or specifically Inca-influenced ware 
is relatively rare in these so-called Inca cemeteries. The collection 
contains something over thirty pieces that can be classed in the style 
of Ica. The majority of these show no Inea influence but can be 
classed as pure Late Ica. Some are akin to what Kroeber and Strong”* 
have called Late Ica IJ—an ‘‘Inea-Iea.’’ Still others correspond to 
Middle Ica. 

Thirteen of the Ica style vessels in the collection are round- 
bottomed open bowls painted on the inside (pl. 18d, e, f) ; five are flat- 
bottomed low bowls with coneavely vertical sides (pl. 18a, c) ; two are 
bowls approaching the Ica bevel-lip type (pl. 18g, 2) ; seven are small 
jars with flat handles (pl. 18), k, 2) ; and five are wide-mouthed jars 
of varying size (pl. 18), h). 3 
cemeteries; so that the most probable explanation is that the Trancas and Soisongo 
collections are not pure lots but post-excavation assemblages; since if they do 
not associate Y specially with B, they also do not associate it specially with 
A or X. An actual condition which would closely associate both in time and 
place four substyles, each or most of which also occurred practically pure in the 


same area, would be extremely complicated, and a theory to explain such a condi- 
tion would probably be so fine spun as to be more ingenious than valid. 


22 Work cited in note 3. 23 Work eited in note 9. 


34 University of California Publications in Am. Arch. and Ethn. | Vol. 24 


While the center of gravity of this group is clearly within the 
Late Ica I phase, the stylistic range is greater. For instance, the 
round-bottomed open bowls with painting inside do not occur in the 
Late Ica style as represented in the Uhle collections from Iea. They 
do occur in Middle Ica,?* and are, prominent in the ‘‘Epigonal’’ from 
Iea,?° where, as at Nazca, they are limited to three (or occasionally 
four) colors. The wide-mouthed jars are more characteristic of Late 
Iea, one specimen (8778) even suggesting Late Chincha. On the other 
hand, the jar of pl. 18) has a typical Middle Ica pattern, in fact seems 
more characteristic of the early or I than posterior or II phase. It 
also shows four colors, red, dark red (or purple), white (or buff), and 
black. This is a typical Middle Ica combination, whereas Late Ica is 
limited to three colors, of the formula R-W-B. The vertical-walled 
and bevel-lip bowls are of rather poor quality and not very decisive, 
but incline to Late Ica with the exception of no. 8656. This is again 
a four-color piece, besides carrying a row of small white circles around 
the base in Middle Ica manner. The flat-handled jars contain nothing 
of earlier type than Late Ica, although the three which have been 
selected for illustration (pl. 18), k, 1) show a more definite influencing 
in the direction of Inca ware than do those which have not been 
illustrated. } 

Of the round-bottomed shallow bowls, plate 18e is much the largest, 
and in color and texture suggests the buff subgroup of Nazca Y. 
Another specimen (8761) carries crosses somewhat similar to the cross 
or flower. designs of the same subgroup. Another (9027) bears two 
circles, from each of which there radiate six foot-like projections, the 
effect of the whole being also reminiscent of the flower designs on the 
buff Nazea Y1 jars. 

These occasional resemblances in the Ica style ware of Nazca to 
Nazea Y, as well as the similarities to Ica ware that have been men- 
tioned as cropping up in Nazca Y specimens such as plates 15/, 16f, 
are of interest as indicating an approach or overlap in time of the 
two styles. On the other hand, there is nothing like a general transi- 
tion. The Ica style pieces are the easiest to isolate as a _distinet 
group in the University’ s collection from the Nazca area. | They 
differentiate more readily from the Nazca Y material than this 
differentiates from the ‘‘typical’’ or A~X-B Nazca which forms the 
bulk of the collection. 

It seems well to state once more that the smallness of the Ica style 
lot in the present collection is by no means an index of scarcity of 


24 This series, 21, pls. 31, 35. 25 Ibid., pl. 30. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca ou 


Iea style in the Nazea region. Not only is the Ica ware less attractive, 
but at the time of Dr. Uhle’s collecting it was familiar to him from 
his previous work at Ica, whereas the ‘‘typical’’ Nazca style repre- 
sented a discovery that was new except for the occurrence that he had 
succeeded in encountering at Ocucaje in Ica. 


VARIOUS FOREIGN INFLUENCES 


In plate 19 are gathered most of the specimens collected by Uhle 
that are neither in the classical Nazea (A, X, B), nor in Nazea Y, nor 
in Iea style: namely, odd pieces in the Tiahuanaco, Chimu, or Inca 
manner. ‘These constitute barely a dozen vessels out of more than 
six hundred. 

Chimu.—The stirrup-mouth jar (plate 19b) combines Chimu 
form with Nazcoid design and color. It is W-Y-B on R and well 
polished. The head evidently represents a trophy, and the conical 
mass of hair has Nazca prototypes. The round eyes, however, high- 
placed nose, open mouth, and teeth suggest Epigonal influence. With 
the exception of the monkey figure double-jar of plate 17d, tentatively 
included in the Nazea Y lot, which also shows Chimu affiliations, the 
collection contains no other indication of northern coast influences 
having reached Nazca until nearly Inca time; no blackware, for 
instance, except in association with late forms. But this present piece, 
19b, suggests some persistence of Nazca manner late enough for the 
persistence to fuse with the northern form—an overlap in time of the 
last Nazea work and the first entrance of Chimu elements. 

Tiahuanaco and Epigonal.—The small R-W-B jar (plate 19a) is 
Tiahuanacoid in its long, prominent nose, tear streaks, and indication 
of finger nails. The face on the tapering spout is found in jars 
from Ancon?® and elsewhere which would generally be classed as 
Tiahuanaco-influenced. The horizontal position of the forearm, the 
flat handle, and the unpolished texture are late or Epigonal traits. 

Another small R-W-B jar with tapering spout appears in plate 
19c. There is a face, apparently of an owl, on the front of the body 
_ of the vessel. This face is on a shield which suggests that of plate 18). 
The nose is modeled. The painting is hasty, the surface unsmoothed. 
Late Epigonal or impure Inea seems a justifiable designation of this 
piece. 

There are two double-spout jars (pl. 19d, e) which differ from all 
Nazea style analogues in that the spouts taper and spread decisively. 


26 This series, 21: pl. 46h, n. 


36 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


One of these is painted in five polished colors, R-W—B-G—Y, with the 
figure of a mythical animal—a winged and beaked quadruped, prob- 
ably a combination of jaguar and condor. This is the feline god of 
Tello, which he derives from a north Andean origin. The style is 
what has generally been called Tiahuanaco** or Epigonal, and is 
widely spread in Peru. Baessler, for instance, figures a piece of this 
type from Pachacamac,”* and Strong one from Ancon.?® There is one 
other known piece of the type from Nazca—in the Gaffron collection 
in the American Museum of Natural History, reproduced in plate 20d 
by courtesy of that institution. 

The second Nazca double-spout is of polished blackware, incised 
(pl. 19e). The ‘‘rays’’ from the head, the teeth,*° and the manner of 
the design are Epigonal. 

Other traces of Tiahuanaco or Epigonal style can be detected in a 
few pieces previously discussed: the Nazca Y specimens of plates 
14a, b,°! 16e, f; and the Ica style specimens of 18d, e, f. 

Inca.—The outstanding piece of Inca type in the collection is the 
polished blackware aryballos, plate 19f, from ‘‘an Inea cemetery at 
Poroma.’’ The piece speaks for itself: it is Coast Inea, Chimu- 
influenced. 

More difficult to place is the blackware jar, plate 19g, which Uhle 
lists as ‘‘Late Ica.’’ The flange is neither specifically Late Ica nor 
Inea; so far as we know, it occurs most frequently in Proto-Lima ware. 
Other features of the form are however all late. 

There is also an unpainted vessel in the shape of a recumbent 
animal, with a spout rising from the middle of the back (4-8935). 
This is one of the ‘‘llamitas’’ which Tello mentions as characterizing 
Inca cemeteries in the Nazea district.*? 

Inca influence appears in several of the vessels already classed as 
in the style of Ica, especially the jars of plate 18), k, 1. 


27 As the name of a generic style, not the specific style of the environs of 
Tiahuanaco, where no double-spouts seem to have been found. 


28 Ancient Peruvian Art, 4: pl. 131, fig. 364. Pachacamac pieces in Tiahuanaco 
or Epigonal manner, other than double-spout jars, pls. 131-144. 

29 This series, 21 fig. 3, and pl. 47d. Cf. also Supe, ibid., pl. 74). 

30 Cf, Baessler, 4: pl. 144. 

31 Cf, Strong, Ancon, this series 21: fig. 4, and pl. 46c. 

32 Note 3 above. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 37 


AMERICAN MUSEUM COLLECTION 


In the American Museum of Natural History in New York is the 
valuable Gaffron collection from Nazca, about equal in size to the 
Uhle collection that has been analyzed. By courtesy of the Museum, 
several pieces from the Gaffron collection are reproduced in plates 
20 and 21. 

A splendid head-and-spout jar (shape v) is shown in plate 20a, b. 
The stream of fish and crustaceans issuing from the mouth recalls 
that on the atypical figure jar 15a, b, which has been tentatively 
classed as of style Y. The present piece however is clearly Nazca B— 
witness the design, on the back, of a distorted Jagged-staff demon (33). 

Plate 20c, a Nazea B flaring rim vase (w), is stylistically equivalent 
to specimens in the Uhle collection; compare plate 8c. 

The double-spout (v) of plate 20d is the piece already referred to 
as a parallel to the Tiahuanaco style vessel 19d.** 

The flat-bottomed constricting bowl of 20e—attributed to Nazca 
in common with the other pieces here discussed—is Middle Ica in 
style, but not quite parallel to any piece from Ica valley.** 

The plate-like bowl (20f) is an excellent example of the Inter- 
locking fish (26) design, which does not occur in the Uhle collection 
on any inner surface or on any low vessel. 

A handled jar (T) (plate 21a) has its design of a pair of dancers 
or perhaps wrestlers on a background of broken black-and-white 
stripings (Overlapping lines, 13) repeated on two vessels of the Uhle 
collection (pls. 3d, 6c). On all three vessels, the persons are male, 
and their movement is unusually vehement. 

Plate 21b departs somewhat from any typical Nazca style shape, 
being lower and more bowl-like than Q, rR, s of figure 2. The very 
slovenly design in a contracted form occurs on two double-spout jars 
in the Uhle collection which in shape and design are exceptional to 
Nazea A style (see pl. 2d; fig. 12d). 

The bowl in plate 21c is unusual in the asymmetrie disposition of 
its design. 

A round-bottom bowl (A), 21d, is in good Nazea A manner, but the 
position of the two naturalistic fishes suggests a possible prototype of 
the Interlocking fish (26) design of Nazca B. 

A Nazca A double-spout (v) is shown in 2le. The slovenly Cat- 
demon (15) holds in his left hand a crudely drawn but nevertheless 
recognizable trophy head. 


33 Notes 27, 28,29. 34 This series, 21: pls. 31-35. Cf. also, this paper, pl. 18a, b. 


38 University of California Publications in Am. Arch. and Ethn.  [Vol. 24 


Definitely crude and stylistically decadent is the head-and-spout 
jar (v), 21f. Mouth and eyes resemble.those of plates 17a, 19a, 21a, 
and contribute to the partly un-B-lke effect of the specimen. How- 
ever, while long, narrow eyes are characteristic of Nazea B in that 
they occur chiefly in it (and Nazea Y), rhomboidal and semi-elliptical 
eyes occur throughout A, X, B, and Y. The three forms together are 
characteristic of native Nazca wares ‘as compared with the round or 
square eye of Tiahuanaco and Inea influenced wares. 


ANALYSIS OF SELER MATERIAL 


Seler’s work cited below* and previously mentioned in this paper 
is an interpretation and classification of designs and design parts 
which decorate pottery in the style of Nazca. It was a valuable aid 
to the present authors in identifying and describing the ornamenta- 
tion of the pottery collection under consideration. The work is 
profusely illustrated with over four hundred text figures of specimens 
of Nazea ware in various European, South American, and other 
museums. One hundred and fifty-eight illustrations show both the 
shape and design of the specimen: these virtually constitute another 
collection the shape and design attributes of which can be tabulated 
as were those of the University collections from Nazca and Ocueaje. 

The collection from Ocucaje was used as a control group to test 
our findings for the ware from Nazca. It would be invalid to use the 
Seler ‘‘collection’’ as a similar check inasmuch as the data derivable 
from illustrations are incomplete: color is lacking, only one side of 
the specimens is visible, the group is selected for graphic purposes. 
For this reason analysis and classification of the Seler pictorial 
material is not offered here as corroboration of the findings for the 
University collection from Nazca, but rather the reverse—the classi- 
fication based on the University collection is applied to the Seler 
material as far as its limitations permit. 

Tabulation of the designs and shapes shows that the Seler material 
classified into styles A, X, and B with about the same definiteness as 
the ware from Nazca and Ocucaje. The results are given in table 3. 
The occurrence of designs on shape groups expressed in percentages, 


as on page 10, is: Designs 
A xX B 
A 41 44 15 
Shapes xX 21 34 45 
Boe 7 4l 52 


35 E. Seler, Gesammelte Abhandlungen, 4:174-338, figs. 1-430, 1923. 


39 


Gayton—Kroeber: The Uhle Pottery Collections from Nazca 


1927] 


TABLE 3 
SHAPE AND DESIGN FREQUENCIES IN SELER ILLUSTRATIONS 


{Jen S7 eae toe 6 ee Ome el OP LT 12518 14515 A671 185197209219 22523524525 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 
Designs —— —— —— 
No DEO n Eom ie Olen. Came lee Oy Re Ae ey A ih rile ee BRS hd S076 92345 sled r6 27 edo Oe eee el 210 
Forms 
A 
i es ee scan, te 5 1 2 nl ib at 
1 OF eRe leer NE 13 eee, 3 1 2 1 1 
As soak amet tes 2 1 1 
TREE eae 26 Za. 1 ‘ok 1 Oh ay 4 2 1 3 1 2} 
ES eee or 2 1 1 
Total A...... 48 AA: 21 HORS PR} AB: 8 52 
x 
Cae ne Seas 
Baia oe ae 1 1 
Ce Ee ae ae 1 1 
Ree eee, cae 3 1 1 1 1 
ice wees ene 11 1 2 1 1 1 1 2 it wt 
1D Pate mee ates, 3 1 1 1 1 2 
pCR Mite ey 0 
i ee eee, 12 1 ie - 15.2 1 
Ca a eee 3 
Hotalxoe 34 XA: 8 DORE I XB: 17 38 
B 
Pere eae 19 2 1 19 
Vie tee Stems ae 10 3 1 1 5 1 4 4 2 
EXO feopies, on ee 4 *) 
Line eee 0 
ect ede. Sethe 5 1 1 
WS ee meme n 0 . 
| eee ee 6 1 1 1 elo 4 
Uae eee 5 2 lle L 2 3 1 
Da ie 5 1 2 1 4 
Qe ee eae ‘i 2 1 1 4 Le ee ad yp es ea | 
Ness eee soe 16 4 Des 1 eee! oe 4 1 
Total: Aoi. une BA: 8 BX 49 BB: 63 | 120 
ARCS PS esate a dy 159 ol 85 88 | 210 


40 University of California Publications in Am. Arch. and Ethn. [Vol. 24 


In at least shape and design association, then, the specimens illus- 
trated in Seler’s work do not markedly deviate from the substyle 
classification which holds for Nazca ware from Nazca and Ocucaje. 

The assignment of each classifiable Seler piece to its substyle is 
given in a list below. 


STYLISTIC CLASSIFICATION OF SPECIMENS ILLUSTRATED BY SELER36 


Page Fig. Style Page Fig. Style Page Fig. Style 
175 la A 177 9 A 178 18 A? 
180 Zi B 180 Ze B 181 23 >.< 
182 25 A 185 27¢ A 192 35a x 
180 37 A 194 39* A 194 40* B 
195 41* A 195 42* A 197 45* B 
197 46* A 199 46d B 203 50* x 
204 53* x 206 57* B 207 59* A 
207 60* A 207 58* x 208 62* A 
208 63* bs 209 64* A 209 65* A 
209 66* A 210 70 A 216 77 A? 
2el 90a #8 Zet 90b A 223 93 B 
224 95* x 225 98 ? 226 99a ? 
235 116 B 236 117 x 236 118 B 
239 124 x 240 125 B 241 129 xX 
241 130 B 241 131 B 241 132 B 
242 133 B 242 134 B 243 134a ? 
246 138-142 B 247 143-146 B 248 147-149b B 
250-251 151-158 B 252 159 ? 252 162 A 
254 171 A? 254 172 B 254 174 B 
255 178 B 256 180 xX 257 182 x 
257 183 xX 257 184 B 257 185 B 
258 189 B 258 190 x 258 191 A? 
259 196 B 258 197 B 258 199 4 
260 201 B 260 202 B 260 203 B 
260 204 B 262 205 B 262 206 B 
262 207 B 263 208 B 264 209 B 
264 210 B 265 211 B 265 212 B 
266 213 B 266 214 B 266 215 B 
266 216 B 267 217 B 267 218 B 
267 219 x: 268 222 B 270 224 B 
268 225 B 268 226 B 271 227 xX 
269 228 B 273 229 B 275 231 B 
276 233 B 279 238 x 281 245 x 
281 246 xX 282 247 B 282 248 B 
282 249 x 283 253 x 283 254 X 
283 254* T-E*” 300 266 ¢ 300 267 B? 
300 268 B? 301 270 A 301 271 A 
301 274 A 302 2/5 A 304 28la A 
304 283* A 306 289 A 306 290 A 
306 292 A 307 296 A 308 301 Be 
308 301 xX 308 302 B? 309 304 A 


310 310 xX 312 316 A? 313 317 B? 


36 Only those illustrations which show both shape and design are entered in 
this classification. 87 Tiahuanacoid-Epigonal. 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 4] 
Page Fig. Style Page Fig. Style Page Fig. Style 
314 318 B 314 319 A? 314 322 A 
315 323 xX 317 334 B 318 337 A 
318 339 A 319 341 A 318 343 x 
321 347 B 321 348 B 321 349 B 
322 350 ? 323 352 B 323 353 B 
323 354 B 323 355 B 323 356 B 
323 357 x 323 358 B 325 365 X? 
325 366 ? 325 370 xX 325 371 xX 
326 372 B 326 373 B 327 375 B 
327 381 x 328 383 A 331 405 A 
333 413 B 333 415 B 335 424 A 
335 425 A 336 419 xX 336 420 B 
336 421 xX 337 427 T-E 338 428 B 
338 430 T-E 

CONCLUSIONS 


The Nazea (‘‘Proto-Nazea’’) style of the valley of Nazca is 
divisible into two substyles and a transitional phase. Each of these 
is characterized by certain shapes, designs, and color schemes, which 
however are not rigidly restricted each to a particular substyle; con- 
sequently the substyles overlap. Their determination, and the assign- 
ment to them of the several shape and design traits, is therefore sub- 
jectively founded. However, the frequency of designs, and again of 
color schemes, attributed respectively to the three substyles is pro- 
portionally greatest on shapes attributed to the same substyles, as 
would be expectable if the styles were objectively founded. The 
absence of excavation data with the present and other collections 
leaves this approach the only one open. 

A Nazea style collection from a single locality (Ocucaje) outside 
the valley of Nazca agrees closely in its shape, design, and color traits 
with one of the three substyles from Nazca (many localities), thus 
tending to confirm the validity of the latter, and, by exclusion, of the 
two other substyles. 

Substyle A, which is also essentially that of Ocucaje, is character- 
ized by simple open bowl shapes, many of them low, and by double- 
spout jars; colors are rich but often somber, backgrounds frequently 
dark; the designs without fine detail, but decisively painted so that 
nearly every part has, or had at the time, an immediate meaning. 

Substyle or connecting phase X is distinguished by several bowl 
shapes and a series of jar shapes lacking in A; the color range is about 
the same, but light backgrounds are more numerous. 

Substyle B is characterized by vases and goblets—variants of 
cylindrical shapes; by jars painted and often slightly modeled to 


42 University of California Publications in Am. Arch. and Ethn.  [ Vol. 24 


represent human heads and figures; by an average greater number of 
different colors per vessel and a more lightly tinted range of colors; 
by a high frequency of hight backgrounds; and by designs that tend to 
intricacy of detail, lack of naturalistic meaning, and conventional 
execution. 

A number of B designs are readily intelligible as developments 
out of A designs altered by frequent repetitions with a gradual shift 
of interest from representation to execution, the latter becoming 
sometimes more elaborate, sometimes more hasty or abbreviated. On 
the contrary, A designs are difficult to conceive as developments 
out of B designs, since the latter are not simple or geometric but 
highly stylized. On stylistic grounds, therefore, the general time 
sequence A, X, B is indicated for the three substyles. This is the 
opposite of Tello’s conclusion, who puts B (‘‘Pre-Nazea’’) earlier 
than A (‘‘Nazca’’). 

There is every reason to believe that the substyles intergraded in 
time and perhaps locally, resulting in frequent cases of new shapes 
being painted with old designs, or old shapes persisting until new 
designs were put on them. Since such eases could not be allowed for 
in the present study, exceept by arbitrary selection, it is possible that 
the actual frequency association of shape, color, and design traits was 
greater for each substyle than shown by the frequency tabulations 
compiled; or at any rate, that essentially pure lots in each substyle 
will be found by excavation in separate localities. 

A fourth style or substyle, obviously mainly of Nazca origin but 
falling outside the limits of what is customarily regarded as the 
Nazca (Proto-Nazea) style, appeared in the collection studied, and was 
called Nazea Y. This is a ware of no great homogeneity, whose prin- 
cipal trends have been distinguished as Y1, Y2, Y3; and is of inferior 
quality. The shapes are more or less different from those of Nazca 
A, X, B; some of the designs appear to be further reductions of B 
designs; others are related rather to non-Nazea than to Nazca styles. 
The presence of Tiahuanacoid and Ica style traits, and the greater 
resemblance to B than to A designs, indicate Nazea Y as posterior to 
Nazea A, X, B. 

Of non-Nazea styles, that of Ica is most abundantly represented in 
Nazea valley, with a range from the Middle through the Late to the 
Inca phase. The Ica style seems wholly posterior to Nazea A, X, B, 
and at least mainly posterior to Nazca Y. 

Tiahuanaco and Epigonal, Inca, and Chimu style influences all 
reached Nazca, but with diminishing strength or frequency in the 


1927 | Gayton—Kroeber: The Uhle Pottery Collections from Nazca 43 


order named. None of them is manifest on specimens showing chiefly 
Nazca A, X, or B traits. Tiahuanacoid traits appear on Nazca Y 
pieces; Inca.traits on Ica style vessels. 

The inferred sequence of ceramic styles in Nazca valley thus is: 
Nazea A, Nazca X, Nazca B, Nazea Y, Tiahuanaco and Middle Ica, 
Late Ica, Inea, the duration of each lapping over at least on the style 
before and after it. Compared with Ica, the stylistic horizons seem 
to be: 


Nazca Tca 
Inca Inca 
(Late Ica IT) 
Late Ica Late Ica I 
(Middle Ica) Middle Ica II 
(Middle Ica I) 
(Tiahuanaco) Ica Epigonal 
Nazca Y (Nazcoid) 
Nazca B 
Nazca X (Nazca X, Santiago) 
Nazca A Nazca A, Ocucaje 
LISTS 


MAXIMUM AND MINIMUM DIMENSIONS IN SHAPE GROUPS 
x Styles A, X, B 


Shape a: smallest specimen, no. 9000, height 38 mm., greatest width 120 mm.; 
largest specimen, no. 8737, height 71 mm., greatest width 180 mm. 


B: no. 8655, h. 55, w. 123; no. 8675, h. 65, w. 170 
G; /no. 8/735, h. .45, w. 125; no. 8522, h. 83, w. ‘202 
D: no. 8471, h. 75, w. 170; no. 8557, h. 77, w. 187 
E: no. 8645, h. 56, w. 116; no. 8649, h. 90, w. 203 
F: no. 8577, h. 80, w. 102; no. 8773, h. 102, w. 143 
G: no. 8831, h. 85, w. 106; no. 8668, h. 115, w. 127 
H: no. 8672, h. 86, w. 131; no. 8586, h. 148, w. 218 
I: no. 8632, h. 101, w. 89; no. 8904, h. 192, w. 194 
J: no. 8903, h. 90, w. 71; no. 8584, h. 170, w. 123 
K: no. 8795, h. 114, w. 119; no. 8395, h. 164, w. 130 
L: no. 8726, h. 881, w. 106; no. 8811, h. 170, w. 123 
M: no. 8712, h. 130, w. 93; no. 8859, h. 155, w. 111 
N: no. 8857, h. 161, w. 86; no. 8394, h. 211, w. 108 
o: no. 8406, h. 152, w. 120; no. 8490, h. 217, w. 139 
Pp: no. 8671, h. 95, w. 107; no. 8681, h. 170, w. 170 
Q: no. 9045, h. 60, w. 108; no. 8585, h. 154, w. 167 
R: no. 8693, h. 85, w. 123; no. 8750, h. 162, w. 200 
Ss: no. 8833, h. 90, w. 120; no. 8419, h. 163, w. 190 
T: no. 8666, h. 131, w. 140; no. 8420, h. 234, w. 225 
vu: no. 8973, h. 127, w. 133; no. 8456, h. 221, w. 170 
v: no. 8887, h. 110, w. 88; no. 8625, h. 198, w. 117 
w: no. 8617, h. 85, w. 106; no. 8636, h. 115, w. 127 
x: no. 8851, h. 120, w. 116; no. 8846, h. 152, w. 159 
y: no. 8883, h. 118, w. 91; no. 8482, h. 216, w. 202 


44 


A 
8704, 
KE, 
8817, 
9084, 
F, 
8773, 
9075, 
H, 
8642, 
8994, 
U, 
8847, 
8878, 
9098. 


“ 


G, 
P, 
8671, 
8717, 
Q, 
9045, 
R, 
9066, 
s, 
8578, 
9040. 
dy 


~“ 


I, 
8568, 
8863, 

J, 
8504, 


K, 


8908, 
L, 
M, 
8547, 
8900, 


University of California Publications in Am. Arch. and Ethn. [Vol. 24 


CATALOGUE NUMBERS OF SPECIMENS IN SHAPE GROUPS 


Style A 


round-bottom bowl (21): 8432, 8433, 8556, 8600, 8601, 8651, 8652, 8653, 
8710, 8737, 8812, 8839, 8998, 8999, 9006, 9014, 9093, 9155, 9156. 

angular bowl (25): 8480, 8571, 8572, 8640, 8644, 8645, 8646, 8647, 8649, 
8818, 8819, 8821, 8912, 8924, 8925, 8930, 8931, 8934, 8996, 9002, 9080, 9081, 
9087. 

cup bowl (30): 8446, 8470, 8535, 8598, 8599, 8604, 8605, 8639, 8673, 8709, 
8804, 8923, 8926, 8927, 8928, 3929, 8932, 8936, 9043, 9072, 9073, 9074, 
9076, 9078, 9083, 9089, 9100, 9101. 

flaring bowl (34): 8438, 8484, 8589, 8521, 8554, 8579, 8580, 8586, 8641, 
8643, 8648, 8672, 8803, 8828, 8909, 8911, 8913, 8914, 8915, 8916, 8917, 8935, 
8997, 9077, 9079, 9082, 9083, 9085, 9086, 9088, 9091, 9097. 
double-spout jar (37): 8424, 8458, 8478, 8479, 8482, 8483, 8495, 8593, 8706, 
8848, 8866, 8867, 8868, 8869, 8870, 8871, 8872, 8873, 8874, 8875, 8876, 8877, 
8882, 8883, 8884, 8885, 8886, 8983, 8984, 8985, 9060, 9062, 9063, 9064, 


Style X 
point-bottom bowl (18): 8431, 8436, 8439, 8466, 8523, 8558, 8592, 8602, 


, 8655, 8675, 8692, 8736, 8738, 8832, 8837, 9004, 9092. 


conical bowl (35): 8426, 8427, 8428, 8429, 8430, 8469, 8573, 8588, 8589, 


, 8674, 8701, 8723, 8727, 8728, 8729, 8730, 8733, 8734, 8735, 8739, 8813, 
, 8966, 8967, 8995, 9008, 9011, 9012, 9013, 9023, 9032, 9036, 9095. | 


shallow bowl (9): 8471, 8472, 8485, 8493, 8494, 8533, 8557, 8943, 9003. 
straight bowl (5): 8434, 8668 8670, 8690, 8831. 

bulbous II vase (36): 8487, 8488, 8489a, 8517, 8570, 8622, 8635, 8667, 8669, 
8681, 8682, 8683, 8684, 8685, 8686, 8687, 8688, 8689, 8711, 8714, 8715, 8716, 
8718, 8719, 8720, 8815, 8820, 8944, 8990, 9001, 9046, 9068, 9069. 
lipless jar (12): 8425, 8616, 8801, 8826, 8834, 8864, 8962, 8963, 8964, 9025, 
9102. 

wide-mouth jar (13): 8414, 8460, 8461, 8520, 8693, 8750, 8890, 8893, 8894, 
9057, 9099, 9163. 

narrow-mouth jar (23): 8412, 8413, 8416, 8417, 8418, 8419, 8574, 8575, 
8594, 8595, 8637, 8800, 8833, 8861, 8891, 8892, 8893, 8991, 8992, 8993, 9034, 


handled jar (8): 8415, 8420, 8477, 8620, 8660, 8666, 8705, 9035. 


Style B 


angled goblet (80): 8409, 8410, 8550, 8551, 8552, 8553, 8555, 8560, 8567, 
8577, 8584, 8638, 8665, 8702, 8724, 8725, 8726, 8731, 8732, 8745, 8802, 8811, 
8986, 8988, 8989, 9044, 9096, 9162. 

goblet (24): 8393, 8402, 8403, 8411, 8437, 8445, 8465, 8496, 8497, 8499, 
8565, 8569, 8632, 8634, 8742, 8899, 8904, 8905, 8906, 8907, 8961, 9157, 9158. 
double-curve goblet (10): 8473, 8474, 8501, 8566, 8662, 8664, 8748, 8903, 
8958. 

conical goblet (7): 8395, 8397, 8506, 8516, 8557, 8795, 9022.. 

small vase (30): 8396, 8405, 8408, 8463, 8491, 8500, 8514, 8518, 8546, 
8564, 8582, 8614, 8630, 8661, 8708, 8712, 8713, 8808, de 8830, 8897, 
8902, 8954, 8955, 8956, 8959, 9159, 9169. 


1927] Gayton—Kroeber: The Uhle Pottery Collections from Nazca 45 


N, cylindrical vase (47): 8388, 8389, 8390, 8391, 8392, 8394, 8404, 8464, 8475, 
8476, 8489, 8507, 8510, 8511, 8512, 8542, 8544, 8545, 8563, 8564, 8583, 8626, 8627, 
8721, 8746, 8747, 8806, 8807, 8809, 8810, 8855, 8856, 8857, 8858, 8860, 8947, 8948, 
8949, 8950, 8951, 8952, 8953, 9041, 9042, 9070, 9071, 9094. 

0, bulbous I vase (28): 8398, 8399, 8400, 8401, 8406, 8407, 8444, 8459, 8462, 
8490, 8492, 8498, 8515, 8561, 8562, 8610, 8619, 8629, 8633, 8663, 8691, 8694, 8859, 
8896, 8901, 8958, 8960, 9033. 

v, head and spout jar (13): 8503, 8659, 8679, 8776, 8794, 8849, 8850, 8851, 
8852, 8879, 8880, 8881, 8945. 

w, flaring rim vase (7): 8421, 8617, 8636, 8793, 8805, 8862, 8987. 

X, figures (12): 8477, 8513, 8625, 8792, 8887, 8946, 8975, 8976, 8977, 8978, 
8979, 9161. 

y, heads (22): 8456, 8457, 8621, 8631, 8677, 8678, 8680, 8695, 8796, 8797, 
8798, 8854, 8968, 8969, 8970, 8971, 8972, 8973, 8974, 9037, 9038, 9039. 


Undetermined 
Z, miscellaneous (26): 8422, 8435, 8468, 8481, 8505, 8576, 8581, 8590, 8615, 
8658, 8743, 8744, 8749, 8822, 8853, 8918, 8919, 8920, 8921, 8922, 8933, 8938, 8939, 
8940, 8941, 9007, 9103. 


EXPLANATION OF PLATES AND CATALOGUE NUMBERS OF 
SPECIMENS ILLUSTRATED 


Plate 1. Nazca style A. Double-spout jars. d, exceptional with style X 
design and 4-color scheme. a, 4—8866; b, 4—8483; c, 4-8495; d, 4-8983; e, 4-9062; 
f, 4-9098. 

Plate 2. Nazca style A. Double-spout jars. d, exceptional with style X 
design and 3-color scheme. a, 4—9190; b, 4—-9064; c, 4-8883; d, 4-8593; e, 4-8886; 
f, 4-8647. 

Plate 3. Nazca style A. a-f, flaring bowls; g, h, round-bottom bowls. 
a, 4-8598; b, 4—8816; c, 4-8828; d, 4—-8484; e, 4-9079; f, 4-8554; g, 4-8592; 
h, 4-8651. 

Plate 4. Nazca style X. a, b, conical bowls; c—e, handled jars; f, narrow- 
mouthed jar. a, 4—9008; b, 4-8426; c, 4-8660; d, 4—-8420; e, 4-8578; f, 4-8412. 

Plate 5. Nazca style X. a, b, bulbous II vases; ec, straight bowl; d, point- 
bottom bowl; e, f, lipless jars, a, 4-8861; b, 4-8398; c, 4-8831; d, 4-8558; 
e, 4-8425; f, 4-8964. 

Plate 6. Nazca style X. a-c, handled jars; d—f, narrow-mouth jars. 
a, 4-8415; b, 4-8447; c, 4-8705; d, 4-8519; e, 4-9034; f, 48417. 

Plate 7. Nazca style B. Head jars. a, 4-8854; b, 4-8796; c, 4-8798; 
d, 4-8456; e, 4-8968; f, 4-8797. 

Plate 8. Nazca style B. a, b, figures; c, flaring-rim jar; d—f, head and spout 
jars. a, 4-8792; b, 4~8946; c, 4-8805; d, 4-8851; e, 4-8849; f, 4-8945. 

Plate 9. Nazca style B: a-ce, figures; d, angled goblet; e, g, i, goblets; 
f, small vase; j, head and spout jar. Nazca miscellaneous: h, 1, m. Nazca style 
Y3: k, handleless jar. a, 4-8978; b, 4-8977; c, 4-8979; d, 4-8584; e, 4-9157; 
f, 4-8900; g, 4-8496; h, 4-8505; 1, 4-8497; j, 4-8794; k, 4-8825; 1, 4-8422; 
m, 4~-8962. ) 

Plate 10. Nazca style B. a, bulbous I vase; b, c, f, i, cylindrical vases; 
d, goblet; e, g, h, small vases. a, 8462; b, 4-8475; c, 4-8809; d, 4-8437; e, 
4-8463; f, 4-9094; g, 4-8614; h, 4-8546; 1, 4-8806. 

Plate 11. Nazca style B. Cylindrical vases. a, 4-8950; b, 4-8388; c, 4-8951; 
d, 4-8626. 

Plate 12. Nazea style Y, type 1. a, 4-8696; b, 4-8757; c, 4-8606; d, 4-8756; 
e, 4-8607; f, 4-8762. 


46 University of California Publications in Am. Arch. and Ethn.  [Vol, 24 


Plate 13. Nazca style Y, type 1. a, 4-8752; b, 4-8755; c, 4-9021; d, 4-8777; 
e, 4-8722; f, 4-8608. ‘ 

Plate 14. Nazca style Y, type 2. a, 4-9017; b, 4-9016; c, 4-9047; d, 4-8740; 
e, 4-9048; f, 4-8741. 

Plate 15. Nazea style Y, types 1, 2, 3. a, b, Y3; c-f, aberrant Y1 and Y2. 
a, 4-8853 ; b, 4-8853; c, 4-8448; d, 4-8407; e, 4-8760; f, 4-9051. 

Plate 16. Nazca style Y, types 1 and 2. Aberrant examples. a, 4-9049; 
b, 4-8700; c, 4-8759; d, 4-8585; e, 4-8624; f, 4-8442. 

Plate 17. Nazca style Y, type 3. a, 4-8481; b, 4-8827; c, 4-8823; d, 4-8543; 
e, 4-8753; f, 4-9065. 

Plate 18. Ware from Nazca in the style of Ica. jl, Inca influenced. 
a, 4-8527; b, 4-8779; c, 4-8347; d, 4-8766; e, 4-8540; f, 4-8765; g,, 4-8528; 
h, 4-8526; i, 4-9030; j, 4-8771; k, 4-8531; 1, 4—-8769. 

Plate 19. Ware from Nazca showing Tiahuanaco, Inca or Chimu influences. 
b, Chimu influenced; a, c—e, Tiahuanaco-Epigonal influenced; f, g, Inca influenced. 
a, 4-8836; b, 4-9018; c, 4-9019; d, 4-8623; e, 4-8841; f, 4-8530; g, 4-8532. 

Plate 20. Vessels from Nazca in the American Museum of Natural History. 
Nazca style B: a, b, head and spout jar; c, flaring-rim jar; f, atypical shape. — 
Tiahuanacoid influenced ware: d. Ica influenced ware: e. a, 41.0-1074; b, 41.0- 
1074; c, 41.0-849; d, 41.0-1046; e, 41.0-989; f, 41.0-990. 

Plate 21. Vessels from Nazca in the American Museum of Natural History. 
Nazca style A: d, round-bottomed bowl; e, double-spout jar. Nazea style X: 
a, handled jar; b, wide-mouthed jar; c, conical bowl. Nazca style B: f, head 
and spout jar. a, 41.0-1020; b, 41.0-792; c, 41.0-971; d, 41.0-1053; e, 41.0-688; 
f, 41.0-1059. 


Figure 3. Nazca style A: 1, 4-9081; 2, 4-8817; 3, 4-8478; 4, 4-8925; 5, 
4-8647; 6, 4-8914; 7, 4-8958; 8, 4-8914; 9, 48886; 10, 4-8436; 11, 4-8883; 
Nazea style X: 12, 4-8594; 13, 4-8705; .14, 4-8571; 15, 4-8907; 16, 4-8581; 17, 
4—8948; 18, 4-8950; 19, 4-8425; 20, 4-8546; 21, 4-8559; 22, 4-8425; 23, 48667; 
24, 4-8456; 25, 4-8475; Nazca style B: 26, 4-8465; 27, 4-8861; 28, 4-8558; 29, 
4-8851, 4-8852, 4-8850, 4-9157, 30, 4-8515; 31, 4-8855; 32, 4-8417; 33, 4-8851; 
34, 4-8542; 35, 4-8544; 36, 4-8546; 37, 4-8614; 38, 4-8851; 39, 4-8940; 40, 
4—8517. 

Figure 4. Nazca style A: a, Seler, p. 252, f. 163; b, Seler, p. 252, f. 162; 
c, 4-8458; d, 4-8867; e, 4-8547; f, 4-8490; g, 4-8951; h, 4-8858; i, Seler, p. 257, 
f. 185; j, 4-8858; k, 4-8945; 1, 4-9042. 

Figure 5. Nazca style A: a, 4-9075; b, 4-9062; Nazea style X: c, 4-8413; 
Nazca style B: d, 4-8499; e, 4-8615; f, 4-8550. 

Figure 6. Nazca style X: a, 4-8412; b, 4-8638; d, 4-8425; e, 4-8964; 
f, 4-8861; Nazca style B: b, 4—8638; c, 4-8852. 

Figure 7. Nazca style A: a, 4-8647; c, 4-8535; Nazca style B: b, 4-8634; 
d, 4-8411; Nazca style X: e, 4—-9036; f, 4-8558. 

Figure 8. Nazca style A: a, 4-8647; Nazca style B: b, 48627. 

Figure 9. Nazea style B: a, 4~-8396; b, 4-8855; c, 4-8542; d, Seler, p. 271, 
fig. 228; e, 4-8954; f, 4-8988; Nazca style X: 4-8967; h, 4-9040. 

Figure 10.. Nazca style Y, type 1: a, 4-8865; b, 4-8980; c, 4-8698; d, 48696; 
e, 4-8448; f, 4-8607; g, 4-8756; h, 4-8760; 1, 4-8489b; j, 4-8606. 

Figure 11. Nazca style A: a, 4-8615; Nazca style B: b, A.M.N.H. 41.0-798; 
c, 4-9043; d, 4-8630. , 

Figure 12. Nazca style A: a, 4-8581; Nazca style B: b, 4-8919; c, 4-8957; 
d, 4—8706. 


UNIVSGCALIE. PUBL> AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 1 


NAZCA STYLE A 


7 


7, P 


A, 


a 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 2 


NAZCA STYLE A 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 3 


AZCA STYLE A 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 4 


NAZCA STYLE X 


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UNIV. CALIF, PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 5 


NAZCA STYLE X 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 6 


NAZCA STYLE X 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 8 


NAZCA STYLE B 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 9 


NAZCA STYLE B 


WNIVe GALIF: PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 10 


NAZCA STYLE B 


UNIV. 


CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER| PEATE 11 


NAZCA STYLE B 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 


[GAYTON-KROEBER] PLATE 


12 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 13 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER]| PLATE 14 


NAZCA STYLE ¥2 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 15 


NAZCA STYLES Yl, 2, 3 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24. [GAYTON-KROEBER] PLATE 16 


NAZCA STYLES Yl, 2, 3 


via 


UNIV. CALIF, PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 17 


NAZCA STYLE Y3 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER]| PLATE 18 


STYLE OF ICA FROM NAZCA 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 


BS) 


CHIMU, TIAHUANACO, INCA INFLUENCES AT NAZCA 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 20 


NAZCA WARE IN AMERICAN MUSEUM OF NATURAL HISTORY 


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UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 24 [GAYTON-KROEBER] PLATE 21 


NAZCA WARE IN AMERICAN MUSEUM OF NATURAL HISTORY 


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UNIVER: [YY OF OALIFORNTA PUBLIOATIONS—(Continved) aan ; Fach 
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